Picasso’s Les Demoiselles d’Avignon (1907) and Braque’s Maisons à l’Estaque (1908) are considered to be the first manifestations of proto-Cubist painting. Cubist art was largely influenced by the late work of Paul Cézanne and the study of primitive art and, more precisely, African religious masks, statuettes, and artefacts. The dull and monochromatic palette (Picasso, Still Life with a Bottle of Rum, 1911) of early Cubist painting, in addition to its emphasis on geometry, can be alternatively viewed as a reaction against the pure bright colors of the Fauves and the spontaneous color treatment of the Impressionists. Cubism signals the break with Renaissance tradition through the rejection of three-dimensional illusionist composition. Subsequently, it soon became a commonplace term and was widely used to describe the formalist innovations in painting pioneered by Pablo Picasso and Georges Braque from 1907 to 1914. The term was established by Parisian art critics, derived from Louis Vauxcelles, and possibly Henri Matisse’s description of Braque’s reductive style in paintings of 1908. Cubism is an influential modernist art movement that emerged in Paris during the first decade of the twentieth century.
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