Proto-Cubism by those who chose to see in his work the imitation of nature and perspective, and as a revolutionary by those who saw in him a revolt against imitation and classical perspective. Timid, yet clearly manifest, was the will to deconstruct. Artists at the forefront of the Parisian art scene at the outset of the 20th century would not fail to notice these tendencies inherent in the work of Cézanne, and decided to venture still further. Avant-garde artists in Paris (including Jean Metzinger, Albert Gleizes, Henri Le Fauconnier, Robert Delaunay, Pablo Picasso, Fernand Léger, André Lhote, Othon Friesz, Georges Braque,
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