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
Georges Braque not merely see them… In tactile space you measure the distance separating you from the object, whereas in visual space you measure the distance separating things from each other. This is what led me, long ago, from landscape to still-life” A still life was also more accessible, in relation to perspective, than landscape, and permitted the artist to see the multiple perspectives of the object. Braque's early interest in still lifes revived during the 1930s. During the period between the wars, Braque exhibited a freer style of Cubism, intensifying his color use and a looser rendering of objects. However, he