Picasso's "analytical cubism" painting from1909 ~19/1year further shows his neglect of objective representation. During this period, the images in his works, whether still life, scenery or characters, were completely decomposed, which made the audience not know much about them. Although every painting has a title, it is difficult for people to find objects related to the title. Those decomposed shapes and backgrounds blend with each other, so that the whole picture is covered with blocks of different shapes interwoven with vertical, oblique and horizontal lines. In this complex network structure, images only emerge slowly, but can be dissolved in complex blocks immediately. The role of color is minimized here. There seems to be only some monotonous black, white, gray and brown in the painting. In fact, what the painter wants to show is only the structure composed of lines, shapes and shapes, and the tension emitted by this structure.

This portrait of Kasler clearly shows how Picasso applied this analytical cubist painting language to the shaping of specific characters. It is puzzling that Picasso never gave up learning from the model in this extremely abstract description of decomposing images and abandoning colors. In order to draw this picture, he made his old friend Mr. Kessler sit patiently in front of him for twenty times. He took pains to decompose the form in detail, thus obtaining a picture structure that seems to be composed of transparent color blocks overlapping layers. The colors in the painting are only blue, ochre and grayish purple. Color only plays a secondary role here. Although the outline of Mr. Canweiler's image can still be vaguely seen in the crisscross of lines and squares, it is difficult for people to judge its similarity with real people. Roland Penrose, the most famous expert on Picasso, once commented after seeing this painting: "Every time a face is separated, a plane is separated from the adjacent part, and it keeps moving backwards, constantly producing a direct feeling, which reminds people of the layers of ripples on the water. Your eyes wander in these ripples, and you can catch some signs here and there, such as a nose, two eyes, some neatly combed hair, a bracelet and a pair of crossed hands. However, when the line of sight turns from this point to that point, it will constantly feel the pleasure of swimming around on some surfaces, because these surfaces are convincing with their similar appearance ... Seeing such a picture will produce imagination; Although this picture is ambiguous, it seems to be true. Driven by the symmetrical and harmonious life of this new reality, it will make its own explanation with joy. "

From 19 12, Picasso turned to his "comprehensive cubism" style painting experiment. He started collage creation. This work called Bottle, Glass and Violin clearly shows this new style.

In this painting, we can distinguish several characters from ordinary objects: a bottle, a glass and a violin. Are represented by newspaper clippings. Here, the focus of the painter's attention is actually the basic form.

However, this problem is treated with a brand-new attitude at this time. In the analysis of cubism, the image is reduced to its basic elements, that is, it is broken down into many small pieces. Picasso took these building blocks as elements and formed a new order of objects and space in his paintings. He used short and thick strokes to connect the blocks side by side, and obtained a clear picture structure, which embodied a rigorous and rational painting procedure. Now, in the works of comprehensive cubism, he just takes the opposite procedure. He no longer takes the real object image as the starting point and decomposes the object image into the basic elements, but takes the basic elements as the starting point and transforms the basic shapes and blocks into the graphics of the objective object image. In other words, before he showed bottles, cups and violins, he had organized and arranged an abstract picture structure. By giving up painting and brushwork, he even gained a more objective truth. He used newspapers, wallpaper, wood grain paper and other similar materials to collage different shapes of building blocks. On the one hand, these blocks show the world outside the painting, on the other hand, they show the unity and independence of the painting's own world with their organic combination. No wonder his art dealer and friend Kahn Weiler commented on him: "Even without the ability to play with brushes, he can create excellent works." In this collage, a newspaper on the left represents a bottle, and the paper printed with wood grain represents a violin. And a few strong lines drawn with charcoal brush make this change a reality and bring those irrelevant collage materials into an organic whole.

This collage art language is the main symbol of cubist painting. Picasso once said: "Even from an aesthetic point of view, people can prefer cubism. But paper paste is the real core of what we found. " In the use of this collage language, Picasso is obviously bolder and more imaginative than other cubist painters (such as Braque and Grice). Other painters should consider whether it conforms to the realistic logic when sorting out different papers. They always limit the grainy paper to objects that represent wood (such as tables and guitars). Picasso got rid of this bondage completely. In his paintings, you can use a patterned wallpaper to represent the desktop, or you can cut and paste a newspaper into a violin. Picasso once expounded his views on collage in a conversation with Franois Giraud: "The purpose of pasting with paper is to point out that different substances can be introduced into composition and become a reality comparable to nature in the picture. We try to get rid of perspective and look for ecstasy. Newspaper fragments are never used to represent newspapers. We use them to describe a bottle, a piano or a face. We never use the material according to its literal meaning, but divorced from its customary background, thus causing the conflict between the original visual image and its new final definition. If newspaper fragments can be turned into a bottle, it will make people think about the benefits of newspapers and bottles. The object was displaced and entered a strange world, a world out of place. We just want people to think about this strangeness because we realize that we live alone in a very disturbing world. "