In early 20th century, cubist thought dragged Europe into a weird experience. Cubism disturbed two main and old principles in painting experience; firs put the reality which was seen under question; what we see, are not all that what we seen. We would never be able to display a complete frame of the world. We could never experience all sides of an object at the same time. What we see is a part of a generality which its integrity is out of our comprehension.
Therefore, displaying volume and the integrity of what is considered as the reality of a moment of a painter, found its way to cubism. Cut newspaper, glass and ashtray, above shot, front and side view, combined with each other simultaneously, found its path to painting. In the meantime, did cubist paintings express a novel reality? That’s a separate issue, but in the area of visual thought in early 20th century and the relativity of objective reality, it was an apt revolution.
The second point was the visual angle of the painter spilt by Picasso and his friends. The classical authority which boasted its visual angle totality broke by cubist criticism. Where does a painter stand in a cubist painting? How and from which angle does he/she look at the world outside? The simultaneous display of the objects and from different angles, in late 20 century was unprecedented in traditional painting.