which art movement was the invention of pablo picasso and george braque
In 1909, Picasso and Braque redirected their focus from humans to objects to keep Cubism fresh, as with Braque’s Violin and Palette.
Spanish artist Juan Gris remained on the fringes of the movement until 1911. He distinguished himself by refusing to make the abstraction of the object more essential than the object itself. Gris died in 1927, and Cubism represents a significant portion of his life’s work.
In Du “Cubisme” Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity,  drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other. 
Contemporary views of Cubism are complex, formed to some extent in response to the “Salle 41” Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the “Salle 41” artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d’Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and 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.” 
As a progressive reaction to Henri Matisse’s painting Le bonheur de vivre , Pablo Picasso painted Les Demoiselles d’Avignon ( The Young Ladies of Avignon ) in 1907.
Cubism as an art movement came to an end with the beginning of the First World War. Military service brought Picasso, Braque, and Gris apart and their joint work as Cubists faded away.
Picasso and Braque’s relationship epitomizes the attraction of opposites. Braque’s father was a house painter and decorator who ensured that his son learned the necessary skills of his trade, while Picasso’s father was an academic painter who gave his son professional drawing lessons. Braque was a tall, reserved, systematic Frenchman whose artistic process was dictated by reason and balance. An incredibly private individual, Braque shunned the limelight and remained married to the same woman his entire life. In contrast, Picasso was a short, egotistical, outspoken, and unpredictable Spanishman who never stuck to one woman or painting style for a prolonged period of time. Hailed as the first celebrity artist, Picasso reveled in his very public status. However, despite their vastly different backgrounds and temperaments, Picasso and Braque complemented each other and contributed to the realization of a common vision with their joint creation of Cubism.
View our Pablo Picasso inventory here: Pablo Picasso Inventory
In 1908, The Peasant Woman was created. The Cubist feature of geometric shapes is found in this piece. It appears that the womans head is facing downward and the top of her head faces the viewer. However, after looking a bit more closely, the top of her head may actually be her face. There is a shape in the middle of the head that could be her nose and she could be wearing glasses. Her dress or skirt meets at a point in the center and it seems that her knees and arms are bent. The womans feet are rectangular and the toes are not distinct. The background is a bit fuzzy and it is hard to tell whether the woman is sitting on something or if she is standing. She does cast a shadow, however, against the wall she is in front of.
Picasso painted Les Demoiselles DAvignon in 1908. It was a radical departure from the artistic ideas of the preceding ages and is now considered the most significant work in the development of Cubism and modern art. Its fragmented forms and unprecedented distortions are apparently inspired by the work of Cézanne and African art. The painting began as a narrative brothel scene, with five prostitutes and two men a medical student and a sailor. But the painting metamorphosed as he worked on it. Picasso painted over the clients, leaving the five women to gaze out at the viewer with their terrifyingly bold and apprehensive faces. There is a strong undercurrent of sexual anxiety.