Yale University Press Picasso and Braque: The Cubist Experiment, 1910-1912

Book did not give detailed information I was looking for.

This hardback exhibition catalogue provides an excellent analysis and technical explanation of Cubist principles and how Braque and Picasso developed them and applied them to their work.Cubism was the key to my own artistic development as a student and my understanding of it enabled me to rapidly find my way into drawing and painting in a creative and disciplined manner; although Cubism isn`t entirely abstract, I use it`s methods to teach abstract principles in my painting workshops – so this book, which very clearly charts the methods of both artists through printing stages, drawings and paintings is a very useful aid to my own activities.There`s a very useful section on materials and process and a handy directory/checklist with thumbnails of the works included in the show at the back of the book.A very recommendable volume for anyone who wishes to understand the importance of this cornerstone of modern art.It`s a real shame there is no “Look inside” option available.

Old and a bit too used. Looks like an old libray book

Really cool art book, enjoyed the stuff about both the artists and the photos. Looks good on the bookshelf too and impresses folks who haven't a clue. Excellent.

The catalog for an exhibition held at the Kimbell Art Museum in Fort Worth and the Santa Barbara Museum of Art, this book is an interesting complement to the monumental 1989 study by the late Robert Rubin (Picasso and Braque: Pioneering Cubism) which is now out of print. It focuses on the technical aspects of Cubism, especially its debt to Cézanne or the use of the print. There are also two groundbreaking essays, one on Braque's adoption of the oval format (the art critic Michael Fried noted in 1965 that one of the most significant characteristics of Cubism was "the tendency for pictorial elements to pull away from the edges of the canvas, especially from the corners, and to gravitate toward its center") and the other on the surfaces, formats and condition of cubist paintings. Most of the illustrations are rather small, but there are some rarely-seen photographs of the back of the paintings (with gallery labels on them) and magnified details of the surfaces, all of which make this book a valuable addition to the literature on Cubism.