This work captures the characteristic traits of Cubism a simplified color palette, fragmented planes that capture the larger picture abstractly, presents the reality of the subject as it could be seen instead of how the artist sees it. One of Picasso's first truly Cubist works is Daniel Henry-Kahnweiler painted in 1910. Alternately, this work does begin the Cubist movement because the purpose of this work was not to explore the dissection of color and shapes but rather for Picasso to explore his influences and combine them into one work. This work is the arguable beginning of Cubism because it begins the breakdown of figures into fragments and planes, and has a limited color palette. If you are one of the art historians who believe that Cubism began in 1907, then the movement begun with Pablo Picasso's Les Demoiselles d'Avignon. To simplify, Cézanne tried to be the forward-thinking artist of the Impressionist movement and succeeded by inspiring Picasso and Braque to create a new movement entirely. However, Cézanne falls at the end of the Impressionism movement and therefore pays more attention to the evolution of his art away from the central ideas of the movement, like abstraction in favor of emotion, and instead focuses on dissecting how he and others see the world. Cézanne is firmly a contributor to the Impressionism movement and focused on capturing the impression of the landscape depicted. Cubism grew out of Paul Cézanne's late work like Mont Sainte-Victoire which attempts to simplify the landscape by breaking it down to its colors and shapes.
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