Considerations manifested by Cubists prior to the outset of World War I, such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson’s concept of duration-had now been vacated, replaced by a purely formal frame of reference that proceeded from a cohesive stance toward art and life.Īs post-war reconstruction began, so too did a series of exhibitions at Léonce Rosenberg’s Galerie de L’Effort Moderne: order and the allegiance to the aesthetically pure remained the prevailing tendency.
The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the French poet and art critic Maurice Raynal as ‘crystal’ Cubism. This range of styles of painting and sculpture, especially significant between 19 (also referred to as the Crystal Period, classical Cubism, pure Cubism, advanced Cubism, late Cubism, synthetic Cubism, or the second phase of Cubism), was practiced in varying degrees by a multitude of artists particularly those under contract with the art dealer and collector Léonce Rosenberg-Henri Laurens, Jean Metzinger, Juan Gris and Jacques Lipchitz most noticeably of all. The primacy of the underlying geometric structure, rooted in the abstract, controls practically all of the elements of the artwork. Crystal Cubism is a distilled form of Cubism consistent with a shift, between 19, towards a strong emphasis on flat surface activity and large overlapping geometric planes.
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