Discuss the searching dissections of form, light and space in 2-3 works of 1909-1911 by Picasso and/or Braque. .
No matter how remote from appearances the works become, do they nevertheless depend quite clearly on an intense scrutiny of the external world? .
Although aesthetically their works do not offer a realistic representation of the world, the intention and concepts inherent provide a closer attitude to reality than previously explored. These objectives stemmed a new radical approach as Picasso and Braque developed a unique conceptual way to evoke reality and vision. In doing so, the pair was still conveying an inquiry of the world as they question the very nature of reality. It was not simply about inspection and representation of space and form but furthermore an evolution of language, a pictorial language that was specified to art. Cubists " sought a vocabulary which would instead evoke emotion, intuition and idea" as stated by Lipton. This was encapsulated in the period co-founded by Picasso and Braque, known as Analytical Cubism (1908-1912), which is exemplified in Picasso's Girl With A Mandolin and Portrait of Ambroise Vollard (1910) and Braque's Violin and Palette (1909). .
Picasso and Braque rejected the idea of representing an object from a single fixed viewpoint, as they were aware that reality, movement and time could not be captured in a distinct, fixed nature. Cubists sought simultaneity by visually interpreting subjects from multiple viewpoints. This was achieved through the fragmentation and interlocking of form and space. Solid shapes and surrounding space was translated into overlapping geometric arrangements. Continuous outlines and neutral colours were also used to emphasise space and structure as objects were presented from a various angles. As Berger further comments, "Cubism is the interaction between the unambiguous signs made on the surface of the picture and the changing reality which they stand in for.