Top list · Cubism
1903 – 1930
The most famous Cubism paintings are Marc Chagall's I and the Village (1911, MOMA - Museum of Modern Art), Pablo Picasso's The Three Musicians (1921, MOMA - Museum of Modern Art), Pablo Picasso's The Young Ladies of Avignon (1907, MOMA - Museum of Modern Art), Georges Braque's Mandola (1910, Tate Gallery) and Marc Chagall's The Birthday (1915, Museum of Modern Art). This ranking lists the 100 best-known Cubism paintings, painted between 1903 and 1930 by 28 artists, with the museum where each one hangs today.
Top 100
Artist, date, original size, museum and the price of a reproduction for every painting.
191 × 150 cm1911Oil on canvasMOMA - Museum of Modern Art, New York City
Measuring 191 x 150 cm, it’s a substantial piece that commands attention, drawing viewers into a world steeped in personal memory and universal symbolism. It isn’t a literal depiction but rather an emotional reconstruction – a dreamscape populated by fragmented figures and scenes. These elements aren’t simply present; they're interwoven, suggesting the fluidity of memory and the interconnectedness of experience.
Detailscowfaceshorse
201 × 223 cm1921Oil on canvasMOMA - Museum of Modern Art, New York City
In the center, a figure dressed as Harlequin features a red and gold diamond-patterned costume. Some interpretations suggest these figures represent individuals close to the artist, such as the poet Guillaume Apollinaire and the poet Max Jacob.
244 × 234 cm1907Oil on canvasMOMA - Museum of Modern Art, New York City
The brushstrokes are visible yet restrained, emphasizing the underlying geometric forms. This deliberate roughness contributes to the artwork's raw and unfinished aesthetic. Les Demoiselles d’Avignon is not intended to be conventionally beautiful; it’s unsettling, confrontational, and intellectually stimulating.
Georges BraqueCubism
71 × 56 cm1910Oil on canvas (presumed)Tate Gallery, London
Created during a period of intense collaboration with Pablo Picasso, “Mandola” exemplifies the core tenets of early Cubism. This work reflects Braque’s fascination with Paul Cézanne's emphasis on underlying structure and his exploration of how painters represent light and perspective.
Detailsmuted color palettefragmented formsgeometric shapes
Marc ChagallCubism
80 × 99 cm1915Oil on cardboardMuseum of Modern Art, New York
This piece exemplifies Chagall’s unique synthesis of styles. Chagall’s life was marked by displacement and cultural transition, moving between Russia, Paris, and Berlin. It's a deeply personal work imbued with the artist’s own experiences and emotions.
Detailsdreamlike qualitydistorted figuresvibrant colors
89 × 147 cm1912Oil on canvasPhiladelphia Museum of Art
This groundbreaking painting exemplifies the Cubist movement, which sought to depict objects from multiple viewpoints simultaneously. Submitted to the 1912 Salon des Indépendants in Paris, this painting was initially rejected by the Cubists for being too Futurist.
Detailsmultiple perspectivesdepiction of motion through superimposed imagesinfluenced by chronophotography
55 × 39 cm1918Oil on canvasMetropolitan Museum of Art, New York
The subject is Jeanne Hébuterne, Modigliani's lifelong companion and muse, depicted with his signature stylistic grace and underlying melancholy. Modigliani’s distinctive style, emerging from the vibrant Parisian art scene, bridges Post-Impressionism with early Modernism and foreshadows Cubist influences.
Detailsmelancholic moodelongated formsmuted color palette
267 × 406 cm1912Oil on canvasCentre Pompidou, Paris
This painting is deeply rooted in the principles of Orphism, an abstract art movement co-founded by Delaunay himself. The influence of both Cubism (in the fracturing of forms) and Futurism (in the depiction of speed and dynamism) is readily apparent.
Detailsbold color palettefragmented formsdynamic composition
130 × 73 cm1914Oil on canvas (presumed)MOMA - Museum of Modern Art, New York City
Braque dismantles the traditional portrait, fracturing the figure of the man and his instrument into a complex interplay of geometric planes. Braque, alongside Pablo Picasso, pioneered Cubism as a response to traditional representational art.
Detailsinterlocking planesfragmented figuregeometric shapes
Oil on canvas
This landscape captures the essence of the Mediterranean countryside with its distinctive houses and natural surroundings. Braque's innovative approach in this artwork marks a significant shift from his earlier Fauvist works to the pioneering stages of Cubism.
Detailsgeometric forms and overlapping planesdynamic composition with angular shapesearthy color palette of greens, yellows, browns, and grays
92 × 65 cm1910Oil on canvasPushkin State Museum, Moscow
Departing radically from traditional artistic conventions, he dissects Vollard’s features into fragmented geometric planes. Ambroise Vollard was instrumental in launching Picasso's career, though their relationship wasn't without its tensions.
Detailsmuted color palettegeometric shapesfragmented forms
90.5 × 59 cm1914Oil on canvasStedelijk Museum Amsterdam
Rooted in the early 20th-century avant-garde movement, this artwork echoes themes of societal upheaval, cultural identity, and philosophical inquiry. The inclusion of Cyrillic script and religious symbols like the candle and church hints at Russian or Soviet influences.
Fernand LégerCubism
184 × 252 cm1921Oil on canvasMOMA - Museum of Modern Art, New York City
Léger's distinctive style in "Three Women" is a fusion of Cubism and Art Deco. The use of bold outlines and simplified forms is reminiscent of both Cubist fragmentation and Art Deco's emphasis on elegance and symmetry.
Detailscontrast between organic and geometric shapesbold geometric patternsvibrant color palette
105 × 75 cm1926Oil on canvasMuseo Nacional Centro de Arte Reina Sofía, Madrid
Dalí, however, infuses it with his own unique sensibility. Executed with meticulous detail in oil on canvas (105 x 75 cm), the painting showcases Dalí’s technical prowess. This fragmented application reinforces the overall sense of deconstruction.
Fernand LégerCubism
230 × 297 cm1919Oil on canvasPhiladelphia Museum of Art
This deliberate deconstruction isn’t about replicating reality; it's about revealing the underlying structure and rhythm of the modern world. The painting exemplifies Léger’s move away from purely analytical Cubism towards a more accessible, visually striking aesthetic.
Detailsfragmented cityscapeindustrial motifsgeometric shapes
1910Oil on canvasSolomon R. Guggenheim Museum, New York City
Created in 1910, this piece exemplifies the pioneering principles of Cubism, characterized by fractured geometric forms and multiple perspectives. Georges Braque, along with Pablo Picasso, was at the forefront of developing Cubism —an innovative movement that redefined artistic representation.
Detailsoverlapping shapessubdued earthy palettefragmented geometric forms
33 × 41 cm1922Oil paintMusée Picasso, Paris
Picasso's modernist approach is evident in the fluid lines and expressive brushstrokes that define the figures. Created during Picasso's post- Cubist period, this artwork reflects his exploration of classical themes and forms.
Detailsfluid and expressive linesdynamic poses and outstretched arms
38 × 34 cm1920Oil on boardMetropolitan Museum of Art, New York
Unlike some of his contemporaries like Wassily Kandinsky and Piet Mondrian who embraced abstraction as a path to spiritual enlightenment, Paul Klee approached it with a playful detachment.
54 × 76 cm1914Oil on canvas
Produced during a period of rapid technological change, this work reflects the Futurist admiration for speed, innovation, and the machine age. The crisscrossing lines represent the sounds and vibrations of a racing car, capturing the essence of movement and energy.
Detailsmultiple perspectivesintersecting shapesvibrant colors
120 × 170 cm1909–1910Oil on canvasKröller-Müller Museum, Otterlo
This painting isn't about what is represented, but how – a radical approach that redefined modern art. Created during a period of intense artistic experimentation in the early 20th century, Nudes in the Forest reflects the revolutionary spirit of Cubism.
Francis PicabiaCubism
Oil painting
The eyes, mouth, and nose are rendered through a series of disjointed, abstract strokes that pull the viewer into a state of visual unrest. It avoids the comfort of symmetry, opting instead for a tension that feels both deliberate and fractured. The simplicity of the black and white medium leaves no room for warmth, offering only the cold, hard truth of the line.
116 × 73 cm1916Oil on canvas
Gris ' work exemplifies Synthetic Cubism, characterized by its geometric abstraction and fragmented forms. Unlike traditional portraits that aim for realistic representation, Gris breaks down the figure into facets, creating a multi-dimensional experience.
Detailsgeometric shapesbold, angular brushstrokesmultiple perspectives
Fernand LégerCubism
46.5 × 63 cm1918Oil on canvasMunson-Williams-Proctor Arts Institute, Oneida County
Deep reds, bright blues, and mustard yellows strike against heavy blacks and whites, pulling the eye across a surface that feels thick with movement. This approach utilizes non-naturalistic lighting, using highlights and shadows to grant three-dimensional volume to abstract shapes.
80 × 80 cm1909Oil on canvasArt Institute of Chicago
This piece exemplifies Braque's transition from Fauvism to Cubism, characterized by its emphasis on geometric abstraction and multiple perspectives. During this period, Braque, alongside Pablo Picasso, was pioneering Cubism, a movement that sought to break away from traditional representation.
Detailswarm color palette with yellow, orange, brown, and beigedynamic interplay of light and shadowgeometric abstraction and angular forms
Pablo PicassoCubism
151 × 101 cm1908Oil on canvas
Influenced by the boldness of Fauvism, yet consciously restrained in its palette, Picasso began dismantling form itself. Picasso was a relentless experimenter, drawing inspiration from Post-Impressionists like Cézanne in his approach to form.
80.3 × 80.3 cm1912Oil on canvasMOMA - Museum of Modern Art, New York City
While sharing their penchant for geometric fragmentation and multiple perspectives, Malevich infuses the scene with a distinctly Russian sensibility and a burgeoning spiritual dimension. This flattening of form anticipates the complete rejection of representational space that would characterize Suprematism.
59 × 54 cm1912Oil on canvasMOMA - Museum of Modern Art, New York City
Duchamp deliberately dismantled the traditional depiction of female sexuality, presenting instead a fragmented, almost violently disjointed figure—a woman caught in a state of perpetual becoming.
Detailsfragmented body
1915Oil on canvas
The Musée National d'Art Moderne in Paris features an extensive collection of modern and contemporary art, including works by Modigliani. For more information on Cubism, visit the Wikipedia page.
121 × 92 cm1903–1904OilArt Institute of Chicago
The Blue Period wasn't simply about depicting poverty; it was an attempt to externalize internal suffering, translating personal anguish into visual form. While firmly rooted in the Blue Period, The Old Guitarist also foreshadows Picasso's groundbreaking development of Cubism.
Detailsdistorted figures
65 × 72 cm1917Oil on canvasSolomon R. Guggenheim Museum, NY
“Prades, the Village” operates within a fascinating dialogue between two influential movements. Joan Miró's “Prades, the Village” (1917) Ciurana, the Path by Joan Miró The Waggon Tracks by Joan Miró Portrait of V.
Georges BraqueCubism
130 × 81 cm1911Oil on canvas
This deliberate fragmentation challenges traditional representation, reflecting Braque's fascination with multiple perspectives. Created in 1911, "Woman Reading" is a product of Braque's collaborative period with Pablo Picasso, during which they pioneered Cubism.
Detailscomplex composition with overlapping shapeslinesforms
1911
Created in the wake of Paul Cézanne's groundbreaking late paintings exhibited at the Salon d'Automne in 1904, Portrait of Chess Players reflects the burgeoning influence of Cubism pioneered by Pablo Picasso and Georges Braque.
126 × 93 cm1914Oil on canvasSolomon R. Guggenheim Museum, New York City
The composition is a symphony of geometric shapes and bold lines, creating a sense of movement and depth. The bold, flat areas of color are characteristic of Cubist works, enhancing the artwork's energy and vibrancy.
Detailsmulti-faceted compositionvibrant colorsgeometric shapes
Georges BraqueCubism
220 × 113 cm1918Oil on canvasKunstmuseum Basel
At its core, the composition hints at a scene filled with musical elements, notably a guitar, intertwined with a fragmented, cubist -inspired figure. The artwork employs geometric fragmentation, layered textures, and a vivid palette to create a dynamic visual experience.
Detailsfragmented formsvibrant colorsgeometric shapes
Piet MondrianCubism
78.5 × 107.5 cm1912Oil on canvasKunstmuseum Den Haag, The Hague
Driven by an idealistic quest for spiritual resonance—a pursuit championed by thinkers like Nietzsche—he embarked on a transformative path toward pure abstraction. Consider Silver Tree (Haags Gemeentemuseum), a striking example of cubist influence combined with geometric abstraction.
Franz MarcCubism
130 × 90 cm1913Oil on canvasArt Institute of Chicago
Created in 1913, this monumental oil on canvas —measuring 130 x 90 cm—currently resides at the Art Institute of Chicago, offering visitors a glimpse into the artistic fervor of its time.
Marc ChagallCubism
104 × 84 cm1914Oil on canvasMuseum of Modern Art, NYC
The subject himself, a rabbi from Vitebsk, is depicted in a state of intense prayer. However, Chagall doesn’t offer a straightforward depiction; instead, he distorts and fragments the figure, suggesting an inner turmoil or spiritual struggle.
62 × 49 cm1914Oil on canvasStaatsgalerie Moderner Kunst (Munich, Germany)
His work aligns with “Cubism: A History and an Analysis, 1907–1914” by John Golding, which elucidates the movement's intellectual foundations and its rejection of traditional artistic conventions.
Pablo PicassoCubism
100 × 73 cm1910Oil paint
Pablo Picasso's " Guitar Player" (1910) is a quintessential example of Analytical Cubism, a revolutionary movement that transformed the art world. The intricate arrangement of lines and planes suggests a three-dimensional structure, though the overall effect remains abstract.
Detailsdynamic interplay of light and shadowsharp angular lines defining edgesrough and layered textures
80 × 80 cm1912Oil on canvas
Materia is deeply rooted in the Cubist aesthetic pioneered by Picasso and Braque. However, Boccioni infuses it with a distinctly Futurist energy. This interplay of texture adds depth and visual interest, enhancing the sense of fragmented reality.
1913Oil on canvasArnot Art Museum, Elmira
The woman wears a veil, symbolizing purity and modesty – a motif frequently found in Chagall’s oeuvre rooted in Jewish folklore. Dominating the backdrop is the Eiffel Tower, erected for the Exposition Universelle of 1889, representing technological progress and France's ambition on the world stage. Established in 1913, the museum houses a remarkable collection of European paintings amassed by Matthias H.
Franz MarcCubism
1912Oil on canvas
The animal’s piercing gaze draws viewers into its world, evoking a sense of mystery and emotional depth. Produced during a pivotal period in early 20th-century art, this work reflects the innovative spirit of Cubism and German Expressionism.
Detailsmultiple viewpointsbold geometric shapescontrasting colors
1905Oil on canvasPushkin Museum, Moscow
The Rose Period, spanning roughly from 1904 to 1906, marked a significant shift in Picasso’s artistic trajectory following the intensely somber Blue Period. Crucially, “Girl on the Ball” foreshadows Picasso's groundbreaking development of Cubism alongside Georges Braque.
Detailsacrobat on ball
79.5 × 79.5 cm1912Oil on canvasYale University Art Gallery, New Haven
The painting depicts a seemingly mundane scene – a knife grinder at work. “Knife Grinder – Principle of Flickering” emerged during a period of intense artistic experimentation. Industrialization, urbanization, and advancements in science were all contributing factors.
28.5 × 38.5 cm1909OilMOMA - Museum of Modern Art, New York City
Initially drawn to landscape painting under the influence of Dutch Impressionism and the Hague School, Mondrian swiftly abandoned representational concerns for a more fundamental exploration of visual form.
Paul CézanneCubism
WatercolorMusée des Beaux-Arts de Bordeaux
This technique creates a sense of monumental weight, making a humble rural outbuilding feel as significant as a cathedral. These "constructive strokes" allow him to build volume and mass, turning light into substance.
46 × 28 cm1915Oil on canvasGalleria Civica d'Arte Moderna e Contemporanea, Turin
Arriving in Paris in 1906, he quickly immersed himself in the avant-garde scene, forging connections with artists like Picasso and Brâncuși. However, Modigliani deliberately charted his own course, rejecting strict adherence to any single movement.
Detailsnecklaceelongated facered hair
Georges BraqueAnalytical Cubism
1908Oil on canvasLille Métropole Museum of Modern Art
At first glance, the viewer encounters a familiar scene of clustered buildings perched upon a sun-drenched slope. Yet, beneath this pastoral surface lies a radical rethinking of representation itself.
Fernand LégerCubism
1910Oil on canvas
Rooted in the principles of Cubism, this piece employs a deliberate deconstruction of traditional form, emphasizing geometric abstraction and multiple viewpoints. The artist skillfully combines sharp lines with softer, blended edges to create a dynamic tension within the composition.
Detailslayered texturesmuted earthy palettemultiple perspectives
100 × 73 cm1911Oil on canvas
Produced during a pivotal period in modern art, this work reflects the experimental spirit of early 20th-century avant-garde movements. The fragmented composition and angular forms symbolize inner turmoil and the fractured nature of human identity.
Detailsbold lineslimited earthy color palettefragmented face
František KupkaOrphic Cubism
1911Oil on canvasParis Museum of Modern Art
Kupka embarked on this artistic endeavor around 1911, marking a significant shift from his earlier techniques that favored blurred boundaries. “Around a Point” showcases Kupka’s deep engagement with theories of light and color.
33 × 41 cm1916Gouache on paperGalerie Rosengart, Lucerne
The Feast of the Tabernacles is a significant work in Chagall's oeuvre, showcasing his unique blend of tradition and innovation. As a prominent piece from 1916, it highlights the artist's early experimentation with Cubism and his exploration of Jewish themes.
Paul KleeCubism
1930–1940Oil paint
Painted sometime between 1930-1940 (precise dating remains elusive for many of Klee’s works), this piece exemplifies his unique ability to blend Cubist structure with Expressionist emotion, creating an atmosphere that is both intriguing and serene.
Juan GrisSynthetic Cubism
54 × 73 cm1913Oil on canvas
To fully appreciate “Pears and Grapes on a Table,” one must understand its place within the evolution of Cubism. This interplay of complementary colors generates a sense of vibrancy and intensity, imbuing the painting with an emotional charge.
72 × 74.5 cm1912Oil on canvasStedelijk Museum Amsterdam
Kazimir Severinovich Malevich (1879-1935) was a Russian artist and art theorist who fundamentally reshaped the landscape of 20th-century art. This fragmentation reflects the Cubist principle of depicting objects from multiple viewpoints simultaneously, creating a sense of dynamism and complexity.
61 × 37.8 cm1919Oil on canvasDetroit Institute of Arts
While often categorized as Expressionism, “Young Man with Cap” reveals Modigliani’s complex artistic dialogue. He moved to Paris in 1906, immersing himself in the vibrant artistic community and forging connections with artists like Picasso and Brâncuși.
Detailsintense expressionelongated facefigures
64 × 70 cm1918Oil on canvasModerna Museet, Stockholm
The central focus is undeniably the donkey, a creature rendered with an almost childlike simplicity. Spain was grappling with the aftermath of the Spanish-American War and the rise of fascism in Europe.
Detailsdonkeybirdstrees
Marc ChagallCubism
169 × 163 cm1918Oil on canvasIsrael Museum of Jerusalem
As a Jewish artist, Chagall experienced firsthand the discrimination prevalent under the Tsarist regime. Alongside works like Over the Town, it cemented Chagall’s reputation as a master storyteller and a uniquely visionary artist.
Detailsgeometric patternsfloating figure
Franz MarcCubism
109 × 99 cm1914Oil on canvasLenbachhaus, Munich
To understand “Birds,” one must understand Franz Marc’s personal philosophy regarding color. As a leading figure of Der Blaue Reiter (The Blue Rider) movement, Marc believed that colors possessed inherent spiritual properties capable of communicating truths that words could not.
1913
The canvas presents a woman centrally positioned with her guitar, but traditional representation is abandoned. This work falls within the analytic cubism phase (1908-1912), characterized by a monochromatic palette and an intense focus on dissecting form.
1918Oil on canvasGalleria Nazionale d'Arte Moderna, Rome
The subject, Anna, is rendered with the artist's signature elongated forms and intensely focused gaze, drawing the viewer into an intimate encounter. Housed at the Galleria Nazionale d’Arte Moderna in Rome, this work exemplifies Modigliani’s unique contribution to early 20th-century portraiture. Consider ‘ Portrait of Moise Kisling’ (1915) for another example of Modigliani's signature style. ‘ Portrait of Anna Zborowska’ offers a similar exploration of feminine beauty and psychological complexity.
Detailsintense gazeelongated facefigures
Aleksandra EksterCubism
1924Painting
The piece was inspired by the city of Venice, following the artist's presence in that location during the spring of 1924. During this period, Ekster traveled to Venice to participate in the organization of the 14th Venice Biennale.
PaintingBorusan Contemporary, Istanbul
To understand the impact of Distorted Cubes, one must look toward the historical landscape shaped by Sol LeWitt himself. The emotional impact of the work is one of balanced energy—it is stimulating yet harmonious, complex yet accessible.
Details14 colored squaresgeometric forms
Pablo PicassoSynthetic Cubism
64 × 50 cm1912Charcoal, collageWashington University Gallery
The painting, measuring 64 x 50 cm and executed in charcoal on cardboard, immediately draws the eye to its central subject: the bottle of Suze, rendered with a slightly tilted cork that hints at movement and spontaneity.
Detailsgeometric forms
Marc ChagallOrphic Cubism
136 × 141.9 cm1912Oil on canvasSolomon R. Guggenheim Museum, New York
Paris Through the Window is an oil on canvas work by Marc Chagall. Created in 1913, the piece emerged during the artist's formative years in France, following his relocation from Russia.
Oil on canvas
Malevich’s repertoire includes several other notable pieces: Landsccape - A Cubist landscape that reflects Malevich's exploration of geometric forms. The Triumph of Heaven - A symbolic representation of spiritual triumph, reflecting Malevich's philosophical approach to art.
František KupkaOrphic Cubism
150 × 180 cm1913Oil on canvasMuseum Kampa, Prague
Moving away from the fleeting light-play of the Impressionists, Kupka utilized fractured planes and geometric abstraction to reveal the underlying structure of reality.
1915Oil on canvas
Produced during a pivotal period of artistic innovation, this work reflects the revolutionary spirit of Cubism, pioneered by artists like Picasso and Braque. The inclusion of a "JOURNAL" hints at themes of communication, information, and the passage of time.
Detailsgeometric formslayered compositionfragmented perspectives
Marcel DuchampMechanistic Cubism
1923Ink and pencil on paperSeattle Art Museum
Six meticulously drawn circles dominate the composition against a stark black backdrop. Influenced by Mechanistic Cubism: Duchamp's approach was deeply rooted in Mechanistic Cubism, championed by artists like Jesús Rafael Soto.
193.4 × 129.2 cm1912Oil on canvasKunstmuseum Basel
The color palette is dominated by deep blues, blacks, and whites, with secondary accents of ochre, red, and pale yellow. Bold, structural lines define the edges of these fractured planes, creating a rhythmic movement across the canvas.
72 × 74 cm1911Oil on canvasThe Lehmbruck Museum, Germany
A transformative trip to Paris in 1912 proved decisive, exposing him to the burgeoning dynamism of European art circles and fueling his determination to forge a path entirely independent from traditional artistic conventions.
Paul KleeCubism
Museum Folkwang, Essen
The artwork presents a nocturnal scene, though not one easily deciphered through representational means. Fire at Full Moon clearly demonstrates the influence of Cubism in its deconstruction of forms and flattened perspective.
Detailsred buildinggeometric shapesmoon
Joan MiróCubism
112 × 102 cm1919Oil on canvas
Nude with Mirror exemplifies this synthesis, demonstrating how traditional artistic conventions could be playfully subverted to reveal deeper layers of meaning. Yet, despite this abstraction, there remains an undeniable sensuality, a hint of the human body beneath the stylized representation.
Detailsbutterfliesmirror
1930Oil on canvasKunsthaus Zürich
While the composition appears austere, it is the result of immense precision and control. Mondrian sought to strip away the "accidental" details of nature—the curves of a leaf or the texture of a cloud—to reach a universal truth.
1911Oil on canvas
Duchamp’s use of simplified, almost architectural shapes symbolizes his rejection of traditional academic beauty in favor of a more cerebral aesthetic. It is a piece that demands attention, prompting viewers to question the stability of what they see.
38 × 46 cm1915Oil on canvasGalleria Civica di Arte Moderna e Contemporanea Torino, Turin
In the quiet corridors of art history, few portraits capture the spirit with such haunting stillness as Amedeo Modigliani’s The Red-Headed Girl.
84 × 70 cm1913Oil on canvasStedelijk Museum, Amsterdam
Unlike contemporaries like Georgia O’Keeffe and Paul Klee who sought to translate sound into visual experiences—a fascinating ambition— Malevich adopted a more pared-down aesthetic. This painting exemplifies Malevich’s ability to distill complex ideas into striking visual representations.
Juan GrisSynthetic Cubism
73 × 92 cm1915PaintingMuseo Nacional Centro de Arte Reina Sofía, Madrid
Unlike earlier explorations of fragmentation, Synthetic Cubism, as seen here, builds up reality from recognizable, yet fractured, components.
Georges BraqueSynthetic Cubism
131 × 74 cm1921Oil on canvasMetropolitan Museum of Art, New York
Unlike Analytical Cubism’s fractured perspectives and dissection of objects into geometric planes—a technique pioneered by Picasso and Braque — Synthetic Cubism prioritized textural richness and muted color palettes. “Guitar and Still Life on a Mantelpiece” exemplifies this shift beautifully.
114 × 128 cm1912Oil on canvasPhiladelphia Museum of Art
This work is a quintessential example of Cubism, a style that revolutionized modern art. Cubism, pioneered by Pablo Picasso and Georges Braque, fundamentally altered the visual landscape of early 20th-century art.
44 × 36 cm1923Oil on canvasBrachot Gallery, Brussels
The scene depicts Georgette Abramović, Magritte’s muse and wife, seated at a piano, alongside a vase containing lilies – symbols of purity and mourning – and scattered fruit.
1913Oil on canvas
In this 1913 oil on canvas, the rigid structures of Cubism soften into a rhythmic, pastoral scene. The painting bridges the gap between the analytical fragmentation of Cubism and the decorative elegance of Art Deco.
Oil
On the table, the mundane details of a life in motion rest in stillness: a cup, a bottle, and a spoon. These small objects catch the light, grounding the scene in a tangible, lived-in reality.
135 × 82 cm1912Oil on canvas
Picasso's Cubist style is characterized by its geometric abstraction and multi-perspective approach. The fragmented and deconstructed nature of "The aficionado (The torero)" symbolizes the breakdown of traditional perspectives and the exploration of multiple viewpoints.
Detailssharp and angular lines creating movement and fragmentationinterplay of text and abstract formsfragmented and abstracted view of a scene
Marc ChagallExpressionist Cubism
23 × 18 cmInk wash on paper
The composition is deliberately flattened, eschewing traditional perspective for a more symbolic approach. Chagall himself often spoke of his childhood memories in Vitebsk—the vibrant colors, the bustling marketplaces, and the deep-seated traditions of his Jewish community.
Detailsstylized figures
190 × 200 cm1926Oil on canvasMuseu de Montserrat, Barcelona
The painting immediately strikes the viewer with its fragmented forms and geometric deconstruction. The fragmented figures could represent the fractured self, or the disintegration of traditional values in the modern world.
Detailsthree figuresroom with objectsboat
1923Oil on canvasWinterbotham Collection
Early influences included Impressionism and Cubism, but a pivotal moment arrived in 1916 when he encountered the work of Italian futurists like Gino Severini. “Composition with Locomotive” remains one of Magritte’s most enduringly enigmatic works.
Detailsgeometric abstraction
Drawing
At first glance, the viewer is met with a striking portrait of a gentleman, seated with a quiet, contemplative gravity upon a park bench. To understand On the Boulevard is to understand the heartbeat of the Russian avant-garde.
Paul CézanneCubism
1905Oil on canvasKunsthaus Buhler Stuttgart, Germany
For instance, the Kunsthaus Buhler Stuttgart, Germany, established in 1905, boasts an impressive collection of both German and French art from the 19th century to the present day.
Pablo PicassoCubism
57 × 41 cm1905Gouache on paper
Created in 1905 during his formative years in Barcelona, this gouache on paper work—measuring 57 x 41 cm—immediately distinguishes itself from academic conventions through its bold color palette and fractured perspective, characteristics that would become hallmarks of Cubism.
Georges BraqueCubism
1930Painting
The emotional impact of “Dead Nature” is one of contemplative peace. Alongside Pablo Picasso, Braque dismantled the "window onto the world" that had defined Western art since the Renaissance.
1913Oil on canvas (presumed)
Marc, a founding member of the Der Blaue Reiter (The Blue Rider) movement, believed that colors possessed their own spiritual vibrations. Driven by a desire to express spiritual truths, Marc often turned to the animal kingdom as his primary subject.
1912Oil on canvasGemeentemuseum, The Hague
The transition from the first version of Still Life with Gingerpot to the second version showcases Mondrian’s thorough adoption of cubist principles, influenced by Pablo Picasso and Georges Braque.
Georges BraqueAnalytical Cubism
61 × 75 cm1910Oil on canvas
At first glance, the composition presents a deceptively simple maritime scene: a fisherman’s boat laden with bottles, drifting through a sea of geometric abstraction.
1914Oil and pencil on canvasMoMA
The technique employed by Duchamp in this work is deceptively simple yet deeply impactful. To understand the emotional weight of Network of Stoppages, one must look to the historical crucible from which it emerged.
Fernand LégerCubism
183.5 × 251.5 cm1921Oil on canvasMOMA - Museum of Modern Art, New York City
The scene presents a group of three women gathered around a dining table, yet they are far from traditional figures in a quiet portrait. The composition is a masterclass in what critics famously termed Tubism or Mechanical Cubism.
Index
Cubism89 · 1903–1930
Synthetic Cubism4 · 1912–1921
Analytical Cubism2 · 1908–1910
Orphic Cubism3 · 1911–1913
Mechanistic Cubism1 · 1923–1923
Locations
100 paintings: 11 in New York City, 9 at the MOMA - Museum of Modern Art.
Philadelphia Museum of Art
Museum of Modern Art
Stedelijk Museum Amsterdam
Gemeentemuseum
Artists
1882–1963 · France · 12
French Cubist pioneer known for fragmented geometric forms and innovative papier collé textures.
4. Mandola, 9. Man with a Guitar, 10. Houses at L'estaque, 16. Violin and Palette, 24. Harbor in Normandy, 31. Woman Reading, 34. The Musician, 48. Houses at L’Estaque, 60. Woman with a Guitar, 79. Guitar and Still Life on a Mantelpiece, 95. Dead nature, 98. Bottle and Fishes
1881–1973 · Spain · 11
Spanish Cubist who dismantled perspective into geometric shapes and monochromatic blue tones, from somber Blue to vibrant Rose periods.
2. The Three Musicians, 3. The Young Ladies of Avignon, 11. Portrait of Ambroise Vollard, 17. Two Women Running on the Beach (The Race), 25. Friendship, 29. The Old Guitarist, 39. Guitar Player, 43. Girl on the Ball, 64. Glass and Bottle of Suze, 88. The Aficionado (The Torero), 94. Boy with a Dog
1879–1935 · Ukraine · 9
Suprematist pioneer of non-objective geometry and radical, pure abstract forms.
12. An Englishman in Moscow, 26. Woman with Pails Dynamic Arrangement, 38. Composition with the Mona Lisa, 44. Knife Grinder - Principle of Flickering, 55. Taking in the Rye, 66. Encina y driadas, 71. Taking in the Harvest, 77. Musical Instrument, 92. On the Boulevard
1887–1985 · Belarus · 8
Russian-born modernist of dreamlike symbolism and vibrant, poetic colors and flying lovers.
1. I and the Village, 5. The Birthday, 37. The Praying Jew, 41. The Betrothed and Eiffel Tower, 52. The Feast of the Tabernacles, 58. The Promenade, 65. Paris Through the Window, 89. Lovers
1887–1968 · France · 8
French American Dadaist pioneer of readymades who challenged art through conceptual inquiry.
6. Nude Descending a Staircase, No.2, 27. The Passage from Virgin to Bride, 32. Portrait of Chess Players, 50. Sad young man in a train, 69. Disks Bearing Spirals, 75. Young Girl and Man in Spring, 80. King and Queen Surrounded by Swift Nudes, 99. Network of Stoppages
1881–1955 · France · 7
French Cubist known for Tubism and rhythmic, mechanical forms inspired by the machine age.
13. Three Women, 15. The City, 20. Nudes in the Forest, 23. The Mechanic, 49. The Wedding, 70. The Woman in Blue, 100. The Breakfast
1884–1920 · Italy · 6
Italian Expressionist known for soulful portraits with elongated faces and almond-shaped eyes.
7. Portrait of Jeanne Hebuterne, 28. Woman Seated by a Fireplace, 47. Head of Red-Haired Woman, 56. Young Man with Cap, 61. Portrait of Anna, 76. The Red-Headed Girl
FAQ
Point at a question for the answer.
The 10 most famous Cubism paintings are I and the Village (Marc Chagall), The Three Musicians (Pablo Picasso), The Young Ladies of Avignon (Pablo Picasso), Mandola (Georges Braque), The Birthday (Marc Chagall), Nude Descending a Staircase, No.2 (Marcel Duchamp), Portrait of Jeanne Hebuterne (Amedeo Modigliani), The City of Paris (Robert Delaunay), Man with a Guitar (Georges Braque) and Houses at L'estaque (Georges Braque).
50 of these 100 paintings are available hand-painted in oil, from $170, and 50 as a canvas print, from $42.
Marc Chagall's I and the Village (1911, MOMA - Museum of Modern Art) is the most famous Cubism painting and No. 1 of this ranking, ahead of Pablo Picasso's The Three Musicians (1921, MOMA - Museum of Modern Art), Pablo Picasso's The Young Ladies of Avignon (1907, MOMA - Museum of Modern Art) and Georges Braque's Mandola (1910, Tate Gallery).
Ranked by the number of their works among the 100 most famous Cubism paintings: Georges Braque (12), Pablo Picasso (11), Kazimir Malevich (9), Marc Chagall (8) and Marcel Duchamp (8).
With 9 of the 100, the MOMA - Museum of Modern Art comes first, followed by the Metropolitan Museum of Art (3) and the Art Institute of Chicago (3); New York City has 11 in all.
The biggest is Robert Delaunay's The City of Paris (1912, Centre Pompidou) at 267 × 406 cm; the smallest, Marc Chagall's Lovers (n.d.) at 23 × 18 cm.
Of the 100 paintings, 82 are in oil, 0 in tempera or tempera and oil, and 0 are frescoes painted on the wall. 0 are on wooden panels and 73 on canvas.
Most of them are in New York City (11), New York (5) and Paris (2). The museums with the most are the MOMA - Museum of Modern Art, the Metropolitan Museum of Art and the Art Institute of Chicago.
The earliest is Pablo Picasso's The Old Guitarist (1903–1904, Art Institute of Chicago) (1903); the latest, Paul Klee's Street in the Camp (1930–1940) (1930).
By recognition: Wikipedia articles in the most languages (Wikidata sitelinks), our manual ranking and page visits. Several records of one painting count once; details, copies and studies are excluded.
Order
50 of the 100 are in stock as hand-painted oil reproductions, from $170. Trade and volume orders welcome.
Which paintings: all Cubism paintings in our catalogue. In which order: the best-known first — counted by Wikipedia articles in different languages, our own ranking and page visits. Each painting once; no details, copies or studies.
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