Museum of Modern Art (MoMA). “Pablo Picasso. Les Demoiselles d’Avignon Still Life with Tenora by Georges Braque, 1913, 50.8 cm × 61 cm, oil and collage on canvas, the collection of the Museum of Modern Art (MoMA) in New York

Braque’s “Still Life with Tenora” highlights the continued exploration of everyday objects within the Cubist movement. The painting’s use of collage elements and abstracted forms exemplifies the Synthetic Cubist approach, transforming familiar items into complex compositions.

Ma Jolie by Pablo Picasso, 1911-12, 100 cm × 64.5 cm, oil on canvas, the collection of theMuseum of Modern Art (MoMA) in New York

Picasso’s “Ma Jolie” represents a pinnacle of Analytical Cubism. The intricate interplay of forms and textures challenges the viewer’s perception, highlighting the movement’s emphasis on abstraction and fragmentation.

The Conquest of the Air by Roger de La Fresnaye, 1913, 178.4 cm × 129.5 cm, oil on canvas,the collection of the Museum of Modern Art (MoMA) in New York

De La Fresnaye’s “The Conquest of the Air” combines elements of Cubism with a more traditional, figurative approach. The painting reflects the artist’s interest in combining modernist techniques with classical themes, illustrating the diversity within the Cubist movement.

Museum of Modern Art (MoMA). “Cubism Collection.” MoMA Exit the Ballets Russes by Fernand Léger, 1914, 150.3 cm × 114.9 cm, oil on canvas, the collection of the Museum of Modern Art (MoMA) in New York

Léger’s “Exit the Ballets Russes” conveys a sense of movement and energy through its vibrant,

mechanistic forms. The painting exemplifies Synthetic Cubism with its use of bright colors and

simplified shapes, reflecting the dynamism of modern urban life.

Breakfast (Le Petit déjeuner) by Juan Gris, 1914, 127.6 cm × 88.9 cm, oil and collage on canvas, the collection of the Museum of Modern Art (MoMA) in New York Museum of Modern Art (MoMA). “Cubism Collection.” MoMA

Gris’s “Breakfast” combines fragments of everyday objects with bold colors and decorative patterns. The painting reflects the Synthetic Cubist approach, using collage techniques to create a harmonious yet abstract composition.

Man with a Guitar by Jacques Lipchitz, 1915, 121.3 cm × 30.2 cm × 32.4 cm, limestone, the

collection of the Museum of Modern Art (MoMA) in New York

Lipchitz’s “Man with a Guitar” translates the principles of Analytical Cubism into three

dimensions2. The sculpture’s angular, faceted forms create a dynamic interplay of light and

shadow, emphasizing the relationship between volume and space

Girl with a Mandolin (Fanny) by Pablo Picasso, 1910, 100.3 cm × 73.6 cm, oil on canvas, the collection of the Museum of Modern Art (MoMA) in New York

Picasso’s “Girl with a Mandolin (Fanny)” deconstructs the human figure into a series of

intersecting planes. The painting challenges the viewer to piece together the image from its

abstracted parts, reflecting the principles of Analytical Cubism.

Man with a Guitar by Georges Braque, 1911, 116.2 cm × 80.9 cm, oil on canvas, the collection of the Museum of Modern Art (MoMA) in New York

Braque’s “Man with a Guitar” exemplifies Analytical Cubism with its fragmented forms and

muted palette1. The painting invites viewers to engage with the composition from multiple

perspectives, emphasizing the structural complexity of the subject.

Les Demoiselles d’Avignon by Pablo Picasso, 1907, 243.9 cm × 233.7 cm, oil on canvas, the collection of the Museum of Modern Art (MoMA) in New York

Picasso’s “Les Demoiselles d’Avignon” marks a revolutionary shift in the representation of the

human form. This seminal work deconstructs traditional perspectives, presenting the figures with

distorted features and angular forms. It serves as a precursor to the Cubist movement,

challenging conventional notions of beauty and artistic representation.