Analytical cubism is the second phase of cubism, characterized by a gradual blurring of the differences between form and space and the disappearance of images of objects. In the paintings of this period appear translucent, iridescent, intersecting planes, the position of which is not clearly defined. The arrangement of forms in space and their relation to large compositional masses are constantly changing. The result is a visual interaction of form and space. Analytical cubism was developed by artists from the Golden Section artistic association: Albert Gleize, Marcel Duchamp, Raymond Duchamp-Villon, Jean Metzinger and Jacques Villon.
In the paintings of this period, iridescent colors appear translucent intersecting planes, the position of which is not clearly defined. The object in this phase is divided into small faces that are clearly separated from each other, the object form seems to blur on the canvas, there is practically no color as such (Marriage “In Honor of IS Bach”, 1912). Artistic practice of cubists: rejection of perspective, reduction of figures in foreshortening, showing them simultaneously from several sides, gravitation towards the opposite perspective. In 1908-1909, both Braque and Picasso sought receptions outside of Cubism.
In the last, “synthetic” stage (1912-1914), the decorative beginning wins, and the paintings turn into colorful planar panels (P. Picasso’s “Guitar and Violin”, 1913; J. Braque “A Woman with a Guitar”, 1913 .); there is an interest in all kinds of textured effects – stickers (collages), dusting powder, volumetric designs on canvas, i.e. the rejection of the image of space and volume is compensated as if by relief material constructions in real space. Then cubist sculpture appeared with its geometrization and shape shifts, spatial constructions on the plane (non-figurative compositions and assemblies – sculptures from heterogeneous materials by P. Picasso, works by A. Laurent, R. Duchamp-Villon, geometrical reliefs and figures of O. Zadkina, Zh Lipschitz, concave counter-reliefs by A.P. Arkhipenko).
By 1914, cubism began to give way to other movements, but continued to influence French artists, Italian futurists, Russian cubo-futurists (V.E. Tatlin, partially the work of K.S. Malevich), and German artists. Late Cubism came close to abstract art; at the same time, some great masters went through the fascination with cubism: the Mexican D. Rivera, the Czechs B. Kubisht, E. Fill and O. Gutfreund, the Italian R. Guttuso, the Pole Yu.T. Makovsky and others. The First World War put an end to the collaboration of Braque and Picasso, but their work had a great influence on other movements, including Futurism, Orphism, Purism and Vorticism.