Cubism fragmented spatial perspective in parallel with Fordist industrial practice

Evidence

Picasso and Braque, for their part, taking their cue from Cezanne who had beުun to breĖk up t?e space of painting in new ’;‘ays in the 1880s, expǃnmented WIth cubIsm, thus abandoning ‘the homogeneous space of lmear perspective’ that had dominated since the fifteenth century. Delaunay’s celebrated work of 1910 - 1 1 depicting the Eiffel Tower (plate 3.10) was perhaps the most startling public symbol of a movement that tried to represent time through a fragmentation of space; the protagonists were probably unaware that this paralleled the practices on Ford’s assembly line, though the choice of the Eiffel Tower as symbol reflected the fact that the whole movement had something to do with industrialism. — David Harvey, The Condition of Postmodernity, 1693

Categorization

• XREF: Connects to Harvey’s core thesis of flexible accumulation vs Fordism, and the cultural-aesthetic movements paralleling economic shifts — the rival-periodization comparison the reader is pursuing. — connects to: US unions traded bargaining power for collaboration with Fordist production — David Harvey, The Condition of Postmodernity: An…, 798; Post-Fordist work substitutes communication for Fordist silence — Mark Fisher, Capitalist Realism: Is There No…, 72
• SEED: Angle: how an artistic movement’s formal innovations can unknowingly mirror the production techniques of its economic era, challenging the ‘independent genius’ myth of avant-garde art.