Cubism Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation." John Berger identifies the essence of Cubism with the mechanical diagram. "The metaphorical model of Cubism is the diagram: The diagram being a
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