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Cubist sculpture developed in parallel with Cubist painting , beginning in Paris around with its proto-Cubist phase, and evolving through the early s. Presenting fragments and facets of objects that could be visually interpreted in different ways had the effect of 'revealing the structure' of the object.
Cubist sculpture essentially is the dynamic rendering of three-dimensional objects in the language of non-Euclidean geometry by shifting viewpoints of volume or mass in terms of spherical, flat and hyperbolic surfaces. In the historical analysis of most modern movements such as Cubism there has been a tendency to suggest that sculpture trailed behind painting. Writings about individual sculptors within the Cubist movement are commonly found, while writings about Cubist sculpture are premised on painting, offering sculpture nothing more than a supporting role.
We are better advised, writes Penelope Curtis , "to look at what is sculptural within Cubism. Cubist painting is an almost sculptural translation of the external world; its associated sculpture translates Cubist painting back into a semi-reality". In the longer term we could read such developments as the beginning of a process in which sculpture expands, poaching painting's territory and then others, to become steadily more prominent in this century".
Increasingly, painters claim sculptural means of problem solving for their paintings. Braque's paper sculptures of , for example, were intended to clarify and enrich his pictorial idiom.
