en.wikipedia.org/wiki/Cubism describe the influences of the two above involved in cubism

Synthetic Cubism was the second main movement within Cubism that was developed by Picasso, Braque, Juan Gris and others between 1912 and 1919. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. It was the beginning of collage materials being introduced as an important ingredient of fine art work.
Considered the first work of this new style was Pablo Picasso's "Still Life with Chair-caning" (1911–1912),[[#cite_note-9|[10]]] which includes oil cloth that was printed to look like chair-caning pasted onto an oval canvas, with text; and rope framing the whole picture. At the upper left are the letters "JOU", which appear in many cubist paintings and refers to the newspaper titled "Le Journal".[[#cite_note-10|[11]]] Newspaper clippings were a common inclusion, physical pieces of newspaper, sheet music, and like items were also included in the collages. JOU may also at the same time be a pun on the French words jeu (game) or jouer (to play). Picasso and Braque had a friendly competition with each other and including the letters in their works may have been an extension of their game.
Whereas Analytic Cubism was an analysis of the subjects (pulling them apart into planes), Synthetic Cubism is more of a pushing of several objects together. Less pure than Analytic Cubism, Synthetic Cubism has fewer planar shifts (or schematism), and less shading, creating flatter space.Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature. The first branch of cubism, known as Analytic Cubism, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity.
English art historian Douglas Cooper describes three phases of Cubism in his seminal book The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.[[#cite_note-0|[1]]]
In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics.

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In painting the several sources of cubist inspiration included the later work of Cézanne; the geometric forms and compressed picture space in his paintings appealed especially to Braque, who developed them in his own works.



Paul Cézanne (French pronunciation: [pɔl seˈzan]; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed.
Cézanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.


Neo-Impressionism or neo-impressionism - A movement in painting which was an outgrowth of and reaction to Impressionism. It was originated by Georges-Pierre Seurat (French, 1859-1891), who employed a technique called pointillism (also called divisionism, or confettiism), based on the scientific juxtaposition of touches or dots of pure color. His most famous painting is A Sunday on La Grande Jatte, 1884, 1884-1886, oil paint on canvas, in the collection of the Art Institute of Chicago). The brain blends the colors automatically in the involuntary process of optical mixing. Other neo-impressionists include Camille Pissaro (French, 1830-1903), Paul Signac (French, 1863-1935), Theodoor van Rysselberghe (Belgian, 1862-1926), and Henry Edmond Cross (French, 1856-1910).



Rousseau, Henri, known as Le Douanier Rousseau (1844-1910). French painter, the most celebrated of naïve artists.
His nickname refers to the job he held with the Paris Customs Office (1871-93), although he never actually rose to the rank of `Douanier' (Customs Officer). Before this he had served in the army, and he later claimed to have seen service in Mexico, but this story seems to be a product of his imagination. He took up painting as a hobby and accepted early retirement in 1893 so he could devote himself to art.
His character was extraordinarily ingenuous and he suffered much ridicule (although he sometimes interpreted sarcastic remarks literally and took them as praise) as well as enduring great poverty. However, his faith in his own abilities never wavered. He tried to paint in the academic manner of such traditionalist artists as Bouguereau and Gérôme, but it was the innocence and charm of his work that won him the admiration of the avant-garde: in 1908 Picasso gave a banquet, half serious half burlesque, in his honor. Rousseau is now best known for his jungle scenes, the first of which is Surprised! (Tropical Storm with a Tiger) (National Gallery, London, 1891) and the last The Dream (MOMA, New York, 1910). These two paintings are works of great imaginative power, in which he showed his extraordinary ability to retain the utter freshness of his vision even when working on a large scale and with loving attention to detail. He claimed such scenes were inspired by his experiences in Mexico, but in fact his sources were illustrated books and visits to the zoo and botanical gardens in Paris.
His other work ranges from the jaunty humor of The Football Players (Philadelphia Museum of Art, 1908) to the mesmeric, eerie beauty of The Sleeping Gypsy (MOMA, 1897). Rousseau was buried in a pauper's grave, but his greatness began to be widely acknowledged soon after his death.



The Stylistic Influences of African Sculpture
Modernist artists were drawn to African sculpture because of its sophisticated approach to the abstraction of the human figure, shown, for example, by a sculpted head from a Fang reliquary ensemble (1979.206.229), and a reliquary by an Ambete artist (2002.456.17). The provenance of the Fang work includes the collection of London-based sculptor Jacob Epstein, who had Vorticist associations and was a longtime friend of Picasso and Matisse; the Ambete reliquary was once owned by the pioneering Paris dealer Charles Ratton and then by Pierre Matisse, a son of the artist.

The Fang sculpture exemplifies the integration of form with function that had created a centuries-old tradition of abstraction in African art before the European colonial period. Affixed at the top of a bark vessel where remains of the most important individuals of an extended family were preserved, the sculptural element can be considered as the embodiment of the ancestor's spirit. The representational style is therefore abstract rather than naturalistic. The abstract form of the Ambete piece goes even further to serve its function. Because the figure is the actual receptacle for the ancestral relics, the torso is elongated, hollow, and accessible from an opening in the back. The exaggerated flatness of the face in these reliquaries, and its lack of affect, typify elements of African aesthetics that were frequently evoked in modernist painting and sculpture.