Cubism, which began very shortly after Fauvism, is
             exemplified by Pablo Picasso. In this movement, the flattened
             space including background and foreground are related in a new
             and more abrupt manner. The first effect is of a camera in
             motion, a kaleidoscopic impression of the solid portions of the
             figure. This certain feature can be contrasted to the
             impressionist movements' works. Added to this kaleidoscopic
             quality is another new element. Picasso and his Cubist
             colleagues disintegrated the form into a series of simultaneously
             viewed but different aspects of the same subject. A cubist
             painter, to achieve a greater understanding, walked about the
             subject, observing it from significant various angles and
             recording them as his impressions of form. But this procedure
             led to the actual destruction of form and its reduction to a series
             of decorative elements. Negro art and sculpture had a profound
             effect and it was quite extensively used by Picasso. Negro
             sculpture approved his subject in a more conceptual way than a
             naturalistic depiction, mostly by a western view. This resulted
             in forms that were more abstract and stylized and in a sense more
             Picasso held the view that it was art that held the
             key to the young twentieth-century painters to liberate
             themselves and was more representational and anti-naturalistic.
             The rational, geometric breakdown of the human head and body
             provided Picasso re-appraisal of his subjects. This style gave
             birth to the next phase of development, known as synthetic
             Cubism. Georges Barque was a major contributor to this style, in
             which he joined bits of real wallpaper, playing cards, tobacco
             package labels, and other materials. These were selected not to
             form impact but for decorative and compositional-making. In this
             form, the Cubists were more concerned with textural and
             decorative values. Cubism was an art of ex...