Editing Cubism (section)

===Cubism after 1918===
[[File:Picasso three musicians moma 2006.jpg|thumb|left|upright=1.15|[[Pablo Picasso]], ''[[Three Musicians (Picasso)|Three Musicians]]'' (1921), [[Museum of Modern Art]], New York, USA (MoMA). ''Three Musicians'' is a classic example of synthetic cubism.<ref>{{cite web|url=http://moma.org/collection/browse_results.php?object_id=78630 |title=The Museum of Modern Art |publisher=Moma.org |access-date=2011-06-11}}</ref>]]
[[File:Pablo Picasso, 1921, Nous autres musiciens (Three Musicians), oil on canvas, 204.5 x 188.3 cm, Philadelphia Museum of Art.jpg|thumb|270px|Pablo Picasso, 1921, ''Nous autres musiciens (Three Musicians)'', oil on canvas, 204.5 × 188.3 cm, [[Philadelphia Museum of Art]]]]
The most innovative period of Cubism was before 1914.{{citation needed|date=May 2021}} After World War I, with the support given by the dealer [[Léonce Rosenberg]], Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of [[geometric abstraction]] and [[Surrealism]] in [[Paris]]. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, Metzinger and [[Emilio Pettoruti]] while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American [[Stuart Davis (painter)|Stuart Davis]] and the Englishman [[Ben Nicholson]]. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l'Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to argue that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d'Or in the same year, demonstrated it was still alive.<ref name="Christopher Green" />

The reemergence of Cubism coincided with the appearance from about 1917 to 1924 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called [[Neoclassicism]]) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards [[conservatism]] in both [[French culture|French]] society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as [[Realism (visual arts)|Realism]] or [[Realism (arts)#Realism or naturalism as resisting idealizing|Naturalism]], [[Dada]], [[Surrealism]] and abstraction could be compared.<ref name="Christopher Green" />

[[File:Diego Rivera, 1914, Portrait de Messieurs Kawashima et Foujita, oil and collage on canvas, 78.5 x 74 cm, private collection.jpg|thumb|[[Diego Rivera]], ''Portrait de Messieurs Kawashima et Foujita'', 1914]]

==== Influence in Asia ====
[[Japan]] and [[China]] were among the first countries in Asia to be influenced by Cubism. Contact first occurred via European texts translated and published in Japanese art journals in the 1910s. In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at the [[École nationale supérieure des Beaux-Arts]], brought back with them both an understanding of modern art movements, including Cubism. Notable works exhibiting Cubist qualities were [[Tetsugorō Yorozu]]'s ''Self Portrait with Red Eyes'' (1912) and [[Fang Ganmin]]'s ''Melody in Autumn'' (1934).<ref>{{Cite journal|author1=Kolokytha, Chara |author2=Hammond, J.M. |author3=Vlčková, Lucie |title=Cubism|url=https://www.rem.routledge.com/articles/overview/cubism|journal=Routledge Encyclopedia of Modernism}}</ref><ref>{{Cite web|url=https://aaa.org.hk/en/collection/search/library/cubism-in-asia-unbounded-dialogues-report|title=Cubism in Asia: Unbounded Dialogues – Report|last=Archive|first=Asia Art|website=aaa.org.hk|language=en|access-date=2018-12-22}}</ref>