16 Facts About Proto-Cubism

Proto-Cubism is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910.

Proto-Cubism stressed the statement made by Emile Bernard that Cezanne's optics were "not in the eye, but in his brain".

Proto-Cubism combined on the one hand the imitative and the immobile, a system left over from the Renaissance, and the mobile on the other; together to forming a hybrid.

Proto-Cubism had been a Neo-Impressionist in the Fauve period, and knew intimately the writings of Signac and Henry.

Proto-Cubism began working on studies for Les Demoiselles d'Avignon after a visit to the ethnographic museum at Palais du Trocadero.

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Proto-Cubism used his zoopraxiscope to show his moving pictures to a paying public, making the Hall the first commercial movie theater.

Proto-Cubism's movies were at a high speed of 60 images per second and of excellent image quality: coming close to perfection in slow-motion cinematography.

Proto-Cubism investigated the nature of trajectories of integral curves in a plane; classifying singular points, introducing the concept of a limit cycle and the loop index.

Proto-Cubism applied all these achievements to study practical problems of mathematical physics and celestial mechanics, and the methods used were the basis of its topological works.

Proto-Cubism gave informal lectures to the group, many of whom were passionate about mathematical order.

Proto-Cubism loved to get the artists interested in the new views on space that had been opened up by Schlegel and some others.

Proto-Cubism rejected the division of space into separate measurable units.

Proto-Cubism painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair, even as the women upon the boulevards fair.

Proto-Cubism had already rejected them in their own century, a century we had no intention of prolonging.

Proto-Cubism ran to his newspaper and with style wrote the gospel article; the next day the public learned of the birth of Cubism.

Proto-Cubism was the first to write of the fact that artists had abandoned traditional perspective and were now free to move around their subjects to paint them from various points in space, and at various moments in time.