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Out of this re-created literalness, the Cubist subject re-emerged. For it had turned out, by a further paradox of Cubism, that the means to an illusion of depth and plasticity had now become widely divergent from the means of representation or imaging. In the Analytical phase of their Cubism, Braque and Picasso had not only had to minimize three-dimensionality simply in order to preserve it; they had also had to generalize it--to the point, finally, where the illusion of depth and relief became abstracted from specific three-dimensional entities and was rendered largely as the illusion of depth and relief as such: as a disembodied attribute and expropriated property detached from everything not itself. In order to be saved, plasticity had had to be isolated; and as the aspect of the subject was transposed into those clusters of more or less interchangeable and contour--obliterating facet-planes by which plasticity was isolated under the Cubist method, the subject itself became largely unrecognizable. Cubism, in its 1911-1912 phase (which the French, with justice, call "hermetic") was on the verge of abstract art.
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