Editing Cubism (section)

==Cubist sculpture==
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 | image1    = Pablo Picasso, 1909–10, Head of a Woman (Fernande), modeled on Fernande Olivier (right side).jpg
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 | caption1  = Side view, bronze sculpture modeled on [[Fernande Olivier]]
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 | image2    = Pablo Picasso, 1909–10, Head of a Woman (Fernande), modeled on Fernande Olivier.jpg
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| header            = Pablo Picasso, 1909–10, ''Head of a Woman''
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| footer            = These photos were published in ''Umělecký Mĕsíčník'', 1913<ref>[http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnabk1913-04.2.3&srpos=19&e=-------en-20--1--txt-IN-picasso----# Pablo Picasso, 1909–10, ''Head of a Woman'', bronze, published in ''Umělecký Mĕsíčník'', 1913] {{webarchive|url=https://web.archive.org/web/20140303215312/http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnabk1913-04.2.3&srpos=19&e=-------en-20--1--txt-IN-picasso---- |date=2014-03-03 }}, Blue Mountain Project, Princeton University</ref>
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{{main|Cubist sculpture}}

Just as in painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones). And just as in painting, it became a pervasive influence and contributed fundamentally to [[Constructivism (art)|Constructivism]] and [[Futurism]].

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted ''Head of a Woman (Fernande)'' with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive ''Woman's Head'', modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time."<ref name="The Cubist Epoch" /> These positive/negative reversals were ambitiously exploited by [[Alexander Archipenko]] in 1912–13, for example in ''Woman Walking''.<ref name="Christopher Green" /> [[Joseph Csaky]], after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by [[Raymond Duchamp-Villon]] and then in 1914 by [[Jacques Lipchitz]], [[Henri Laurens]] and [[Ossip Zadkine]].<ref>Robert Rosenblum, "Cubism", Readings in Art History 2 (1976), Seuphor, Sculpture of this Century</ref><ref>{{Cite book|url=https://books.google.com/books?id=rUPz18-QeyEC&q=csaky|archive-url=https://web.archive.org/web/20160101225927/https://books.google.com/books?id=rUPz18-QeyEC&q=csaky|url-status=dead|title=Joseph Csáky: A Pioneer of Modern Sculpture|first=Edith|last=Balas|date=April 19, 1998|archive-date=January 1, 2016|publisher=American Philosophical Society|isbn = 9780871692306|via=Google Books}}</ref>

Indeed, Cubist construction was as influential as any pictorial Cubist innovation. It was the stimulus behind the proto-Constructivist work of both [[Naum Gabo]] and [[Vladimir Tatlin]] and thus the starting-point for the entire constructive tendency in 20th-century modernist sculpture.<ref name="Christopher Green" />