Cubism Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition." The traditional interpretation of "Cubism", formulated "post facto" as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists
Crystal Cubism clearest and most intelligible definition of Cubism. At the outset of the First World War many artists were mobilized: Metzinger, Gleizes, Braque, Léger, de La Fresnaye, and Duchamp-Villon. Despite the brutal interruption, each found the time to continue making art, sustaining differing types of Cubism. Yet they discovered a ubiquitous link between the Cubist syntax (beyond pre-war attitudes) and that of the anonymity and novelty of mechanized warfare. Cubism evolved as much a result of an "evasion" of the inconceivable atrocities of war as of nationalistic pressures. Along with the evasion came the need to diverge further and further away