pablo picasso and georges braque created which style of painting
Vauxcelles, on 25 March 1909, used the terms “bizarreries cubiques” (cubic oddities) after seeing a painting by Braque at the Salon des Indépendants. 
Braque resumed painting in late 1916. Working alone, he began to moderate the harsh abstraction of cubism. He developed a more personal style characterized by brilliant color, textured surfaces, and—after his relocation to the Normandy seacoast—the reappearance of the human figure. He painted many still life subjects during this time, maintaining his emphasis on structure. One example of this is his 1943 work Blue Guitar, which hangs in the Allen Memorial Art Museum.  During his recovery he became a close friend of the cubist artist Juan Gris.
The technique of faceting originated from Georges Braques – it was his way to depict a natural object. Picasso didn’t so much facet natural objects, but used the geometry of Braques’ faceted paintings to create a style that was abstract in essence, almost pure abstract art. So cubism refers to the styles of both Braques and Picasso, although Braques’ cubism has a recognizable figurative objective, while Picasso‘s cubism served as the link between Braques’ style and pure the abstract art that followed from cubism.
Both Pablo Picasso and Georges Braque moved toward abstraction, leaving only enough signs of the real world to supply a tension between the reality outside the painting and the complicated meditations on visual language within the frame, exemplified through their paintings Ma Jolie (1911), by Picasso and The Portuguese (1911), by Braque.
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.”
Cubism, highly influential visual arts style of the 20th century that was created principally by the artists Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro, and refuting time-honoured theories that art should imitate nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects.
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.
From around 1912 Braque, Picasso, and other artists working in a cubist style such as Juan Gris, started to use simpler shapes and lines and brighter colours in their artworks. They also began to add textures and patterns to their work, often collaging newspaper or other patterned paper directly into their paintings. This approach was called synthetic cubism. Browse the slideshow to remind yourself what it looks like.
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?