0250 Synthetic Cubism at War: New Necessities, New Challenges

  • Belén Atencia Conde-Pumpido (Author)

    Belén Atencia Conde-Pumpido holds a Ph.D. in Art History from the University of Málaga. Her (unpublished) doctoral thesis, El cubismo durante la Primera Guerra Mundial en la Galería L’Effort Moderne, 2010, earned her an extraordinary doctorate award from her university. While working on it she was part of the research group "Cubism. Epistemological development and historiographic interpretations", funded by the Ministry of Science and Innovation of Spain between 2006 and 2010. Since 2010 she has lectured at the Department of Art History of the University of Málaga. With parallel training in Conservation and Restoration of Works of Art, she has participated actively in recent years in the restoration of various pieces registered as Assets of Cultural Interest (BIC). Her in-depth study of the survival of Cubism during the First World War, including several research stays at the Bibliothèque Kandinsky of the Musée d’Art Moderne, Centre Georges Pompidou in Paris, has also resulted in a number of scholarly articles published in Spanish and international journals.

Identifiers (Article)


When we talk about the Synthetic Cubism period, what exactly are we referring to? What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? To what extent did the disorder that the Great War unleashed, with all its political, sociological and moral demands, influence the reformulation of a purely synthetic syntax? This article attempts to answer these and other questions relating to the sociological-aesthetic interferences that would influence the Parisian Cubist style of the war years, and in particular the works of Juan Gris, María Blanchard, Jacques Lipchitz and Jean Metzinger during the spring and summer that they shared with one another in 1918, until it consolidated into what we now know as Crystal Cubism.