As I pointed out in the previous entry Pablo Picasso is considered one of the masters of cubism. It is necessary to know the main characteristics of this artistic movement to understand why Picasso painted in this way.
The term "cubism" was adopted by the French critic Louis Vauxcelles who defined painting as made up of cubes.
First of all, the traditional perspective disappears and lines and surfaces are fragmented in order to treat nature through geometrical figures. In this way, a multiple perspective is achieved, which makes it possible to represent all the parts of an object on the same plane. By suppressing details, the sensation of depth is lost. Finally, primitive art had a strong influence on these works, in fact, it is the schematism and simplicity in the lines of composition which are its distinctive elements (there are few geometric strokes that make up the figure).
Pablo Picasso was interested in cubism and other avant-garde sciences such as non-Euclidean geometry and the fourth dimension (he had access to this knowledge through Maurice Princet, who was known as "the mathematician of Cubism"). The first concept named, non-Euclidean geometry, refers to those geometric systems which differ from the postulates argued by Euclid in Elements. On the other hand, the concept of the fourth dimension refers to the true and absolute representation of an object as it occupies the astral plane which extends to infinity. An object stretched out on this plane allows us to see all its angles simultaneously so that the object is practically unrecognisable to our eyes, which can only see a three-dimensional reality. Picasso's concept of spatial simultaneity is very radical, as it involves the simultaneous representation of completely different points of view and the sum total makes up the object. A very clear example of this is in Les Demoiselles d'Avignon.
Particularly in the so-called analytical phase of Cubism, the aim was to represent objects from all their perspectives, reaching such a complete and chaotic repression that the object ends up being almost unrecognisable. At the same time, classical geometry is emphasised in a certain way, lines that make up the simplest polygons, making the geometric component much more visible than in realism.
This idea of having created an "augmented" reality, no longer three-dimensional but multi-dimensional and multi-temporal, is what makes the members of the movement feel this use of geometry, this movement, as an evolution of realism, where the geometry of nature was already "sacred enough".
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