List of Illustrations
Acknowledgements
Note on Translations

Introduction: Cubism Now

1. A Last Stand for Painting: Georges Braque and John Golding; Pablo Picasso and Roy Lichtenstein
Beginning at the End
Numbers
With and Against Post-1945 "Modern Art"
Picasso's Painter and his Model Series and Roy Lichtenstein's "Idiot" Picassos
Braque's Studios and the "Reality of Space"
The Distance between Cubism and Modern Art after 1960

2. The Act of Seeing: The Early Cubism of Braque, Picasso and Gris
Going beyond Les Demoiselles d'Avignon
Analytical Cubism?
Learning-by-doing: Braque's Cubist Beginnings
Learning-by-doing: Picasso's Cubist Beginnings
Juan Gris Joins In

3. Learning to See Again: Braque and Picasso Before Collage, 1910-12
Unknown Masterpieces
Re-start
Failure?
Braque, "L'infinition" and an Invitation with Picasso to Wonderland
Success? Looking and Seeing
Light and the Immaterial

4. Simple Facts? The Arrival of Collage: Gris, Picasso, Braque
Juan Gris's Critique and the Discovery of Collage
Braque and Picasso: The First Papiers Collés - Drawing with Papers, Sketching in Air
Picasso and Braque: From Drawing to Making New Things
Juan Gris: Collage and Interrogative Painting
Braque and Picasso: What Can Be for Ever?

5. Postscript: Dada, Classic Realism, Cubism: Francis Picabia versus Picasso

Notes
Index

"Lavishly illustrated and filled with rich new insights that are the product of decades' worth of research, Cubism and Reality challenges the commonly-held view of Cubism as either a retreat from reality into abstraction, arguing instead that Georges Braque, Pablo Picasso, and Juan Gris wanted to find ways of intensifying and expanding painting's capacity to give viewers more, not less, of their lived experience of the world. It explores how Cubist artworks ask us to reflect on visual art's relationship to everyday visual experience, tackling a fundamental issue that has preoccupied artists and critics for over a century: the survival of hand-made representational artworks in the epoch of photography, film and, in the present age, digital reproduction"--

Christopher Green is Emeritus Professor at the Courtauld Institute of Art, UK and is a Fellow of the British Academy. He is the author and editor of numerous volumes, including: Cubism and its Enemies (1987) which was the recipient of the Mitchell Prize for 20th Century art; Juan Gris (1993); Art in France, 1900-1940 (2000); Picasso's 'Les Demoiselles d'Avignon' (2001); Picasso: Architecture and Vertigo (2005); Cubism and War: The Crystal in the Flame (2016).