Cubism emerged in the early 20th century as one of the most revolutionary movements in Modern Western Art, fundamentally challenging traditional notions of perspective, form, and representation. Developed primarily by Pablo Picasso and Georges Braque in Paris between 1907 and 1914, Cubism sought to break away from the illusionistic techniques of the Renaissance and to explore multiple viewpoints simultaneously, presenting objects and figures in fragmented, geometric forms. This radical approach represented a shift from art as mere imitation of reality to art as an intellectual exploration of visual experience. The origins of Cubism can be traced to the broader changes in European art and culture during the late 19th and early 20th centuries. Artists were increasingly influenced by non-Western art forms, particularly African and Oceanic sculptures, which emphasized abstracted, simplified shapes over realistic depiction. Cézanne’s late works, with their structured brushstrokes and focus on underlying geometric forms in nature, had a profound influence on Picasso and Braque. Cézanne’s statement that “everything in nature is based on the cylinder, the sphere, and the cone” provided a theoretical framework for Cubist experimentation, inspiring the idea that forms could be analyzed and reconstructed from multiple angles rather than represented from a single viewpoint. Cubism is generally divided into two main phases: Analytic Cubism and Synthetic Cubism. Analytic Cubism, which developed between 1907 and 1912, focused on the deconstruction of objects into their constituent geometric parts. In this phase, artists would fragment the subject into overlapping planes, often using a muted palette of browns, grays, and ochres to emphasize form rather than color. Works such as Picasso’s *Les Demoiselles d’Avignon* (1907) and Braque’s *Violin and Palette* (1909–1910) exemplify the analytical approach. These paintings display multiple perspectives of the same object, allowing the viewer to perceive the totality of the form in a single image. The resulting compositions are intellectually demanding, as the viewer must reconstruct the object mentally from the fragmented planes, shifting the emphasis from mere visual pleasure to cognitive engagement. Synthetic Cubism, emerging around 1912 and continuing into the 1920s, represented a new approach that focused on the construction of images rather than their deconstruction. Artists began