Using these simple basic elements you can do anything”. Cezanne said: “Treat nature by means of the cylinder, the sphere, the cone. The figures in "Farmer’s Wife", "Dryad", "Three Women" and "Friendship" are easy to distinguish in the context of paintings, but are reduced to a certain combination of volumes conveyed with color. Originally, under the influence of Iberian and African art, as well as the ideas of Cezanne, Picasso began roughening and simplifying the outlines of figures and objects (during the period of early Cubism, 1906/07-1909). “Liberation” of color was headed by Matisse, whereas the founders of Cubism, Braque and Picasso, were more inclined towards shape. Rejection of a life-like imitation of the objective world opened incredible opportunities to artists. The outside world only gives rise to the expression of the creator’s identity. The following question arose before the artists: how would art remain alive and relevant in a world where visual images were becoming more accessible and easier replicated? Picasso’s answer was extremely simple: the battery of art consists of its specific means, such as plane, line, color, and light, and it is not necessary that these means are put at the service of nature. Photography was actively developing, and it became clear that its domain would be the capturing of reality. The impetus for the development of a new art language was the following question: why make paintings? By the beginning of 20s century, just about anyone could learn the basics of “correct” drawing.
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Even the impressionists, who started a new chapter in the history of painting devoted to light and fixation of fleeting impressions, were faced with the problem: how to capture the world on canvas. Art had been evolving several centuries without bringing this concept into question. Cubism Before Cubism, the lifelikeness was the major problem in the European art.
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