pablo picasso and georges braque created which style of painting?
Although Braque began his career painting landscapes, during 1908 he, alongside Picasso, discovered the advantages of painting still lifes instead. Braque explained that he “… began to concentrate on still-lifes, because in the still-life you have a tactile, I might almost say a manual space… This answered to the hankering I have always had to touch things and 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.
Braque‘s earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the “Fauves” (Beasts) in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, used brilliant colors to represent emotional response. Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braque‘s hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to L’Estaque, to Antwerp, and home to Le Havre to paint. 
Picasso painted Landscape with Bridge in the next year. He used many different shades of brown. The pieces of rock are broken into fragments and you can see the different textures of the rock by the variety of brushstrokes he used. The land on top of the bridge is also made of different pieces. The water under the bridge is hard to distinguish from the rocks making up most of the picture. The straight stick-like figure on the left appears to be a tree trunk.
House in a Garden (House with Trees) was painted in 1908. The painting mostly consists of greens and cream colors. The leaves and grass are fragmented. The trees branches have curves as well as sharp angles. The house in the garden and the wall around the garden are made of simple geometric figures.
Working alongside one another during the first two decades of the twentieth century, Braque and Picasso developed a revolutionary style of art making known as Cubism. Cubist artworks aim to show objects, people and places from many angles at once, giving the images a fragmented appearance. When Braque visited Picasso at his studio in an abandoned scent factory in Vallauris, the pottery-making town near Antibes, the two artists had not met for many years. Miller shows them chatting in the studio with Roland Penrose in the background.
“Picasso brought out large sculptures he was working on. Shards and pot-handles put together by him became a baby in a push-cart. Playing with all manner of solutions, each position he tried brought a surprise, sometimes so outrageous that only a polite grin came from Braque, but even so that communication between the two inventors of cubism who had understood each other so thoroughly some half century before was still present.”
The cubists however, felt that this type of illusion is trickery and does not give a real experience of the object.
Look at this painting by Georges Braque of a glass on a table. Can you spot the techniques he has used to emphasize the flatness of the picture, but at the same time, made the objects look solid?
The movement’s development from 1910 to 1912 is often referred to as Analytical Cubism. During this period, the work of Picasso and Braque became so similar that their paintings are almost indistinguishable. Analytical Cubist paintings by both artists show the breaking down, or analysis, of form. Picasso and Braque favoured right-angle and straight-line construction, though occasionally some areas of their paintings appear sculptural, as in Picasso’s Girl with a Mandolin (1910). They simplified their colour schemes to a nearly monochromatic scale (hues of tan, brown, gray, cream, green, or blue were preferred) in order not to distract the viewer from the artist’s primary interest—the structure of form itself. The monochromatic colour scheme was suited to the presentation of complex, multiple views of the object, which was reduced to overlapping opaque and transparent planes. These planes appear to move beyond the surface of the canvas rather than to recede in depth. Forms are generally compact and dense in the centre of an Analytical Cubist painting, growing larger as they diffuse toward the edges of the canvas, as in Picasso’s Portrait of Ambroise Vollard (1909–10). In their work from this period, Picasso and Braque frequently combined representational motifs with letters; their favourite motifs were musical instruments, bottles, pitchers, glasses, newspapers, and the human face and figure.
Cubism derived its name from remarks that were made by the critic Louis Vauxcelles, who derisively described Braque’s 1908 work Houses at L’Estaque as being composed of cubes. In Braque’s painting, the volumes of the houses, the cylindrical forms of the trees, and the tan-and-green colour scheme are reminiscent of Paul Cézanne’s landscapes, which deeply inspired the Cubists in their first stage of development (until 1909). It was, however, Les Demoiselles d’Avignon, painted by Picasso in 1907, that presaged the new style; in this work, the forms of five female nudes become fractured, angular shapes. As in Cézanne’s art, perspective is rendered through colour, with the warm reddish-browns advancing and the cool blues receding.