In due course he was represented by Paul Rosenberg (1881-1959), younger brother of the Cubist dealer Leonce Rosenberg (1879-1947).

They also highlighted the fact that a painting is a two dimensional flat object and blurred the line between painting and sculpture.

It had a notable influence on later movements such as Dada (c.1916-24) Surrealism (1924 onwards) and Pop Art (c.1960-75).

Picasso's synthetic Cubism coincided with his move from Bohemian Monmartre to Montparnasse, and ended with the outbreak of war in Autumn 1914, shortly after which Braque left to fight and Daniel-Henry Kahnweiler (the duo's main art dealer) fled to Switzerland.

As a Spanish neutral, Picasso was free to continue his painting career in Paris.

• Introduction: History & Characteristics • From Analytical to Synthetic Cubism • Synthesis to Create Modern Art • Real or Illusion • Juan Gris: Poet of Synthetic Cubism • Greatest Synthetic Cubist Paintings Following the phases of Early Cubist Painting and Analytical Cubism, the third and final act of the Cubist collaboration between Georges Braque (1882-1963) and Pablo Picasso (1881-1973) occurred during the period 1912-14.

Known as Synthetic Cubism, this symbolic style of art is more colourful than the earlier analytic form of Cubism, incorporates a wide variety of extraneous materials, and is particularly associated with Picasso's novel technique of collage, and Braque's papier colles.

The Spaniard Juan Gris (1887-1927) was a major contributor to the new style.

If Analytical Cubism provided a revolutionary painterly alternative to single point linear perspective, Synthetic Cubism was equally innovative in its use of collage and papier colles, both of which bridged the gap between life and art by inserting pieces of the real world onto the canvas.

The new type of modern art emerged in two particular works.