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In France, simultaneously, the towering figure of the Gothic Revival was Eugène Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclopédie médiévale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame de Paris, where many of whose most "Gothic" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.
The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.
In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.
Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.
Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.
The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."
During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.
The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."
The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins. This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, Holland, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, Le Chahut and Le Cirque), was another important influence. There were also parallels in the development of literature and social thought.
In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.
The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."
The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."
The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.
There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.
In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.
At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.
The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.
The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.
It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).
The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.
Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.
The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.
The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.
The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.
In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.
This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.
Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. Jacques Villon exhibited seven important and large drypoints, his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No. 2 (1912). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.
Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.
A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal (fr) as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference.
The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.
The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared.
Cubism formed an important link between early-20th-century art and architecture. The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn. Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity.
Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.
Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.
At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).
The original Cubist architecture is very rare. There is only one country in the world where Cubism was really applied to architecture – namely Bohemia (today Czech Republic) and especially its capital, Prague. Czech architects were the first and only ones in the world to ever design original Cubist buildings. Cubist architecture flourished for the most part between 1910–1914, but the Cubist or Cubism-influenced buildings were also built after the World War I. After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes.
In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. hexagonal windows. Czech Cubist architects also designed Cubist furniture.
The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol. They worked mostly in Prague but also in other Bohemian towns. The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient. Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad. A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913.
The influence of cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well. Picasso in turn was an important influence on Stein's writing.
The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy. As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada." Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet." Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work. Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.
Chinese political philosophy dates back to the Spring and Autumn Period, specifically with Confucius in the 6th century BC. Chinese political philosophy was developed as a response to the social and political breakdown of the country characteristic of the Spring and Autumn Period and the Warring States period. The major philosophies during the period, Confucianism, Legalism, Mohism, Agrarianism and Taoism, each had a political aspect to their philosophical schools. Philosophers such as Confucius, Mencius, and Mozi, focused on political unity and political stability as the basis of their political philosophies. Confucianism advocated a hierarchical, meritocratic government based on empathy, loyalty, and interpersonal relationships. Legalism advocated a highly authoritarian government based on draconian punishments and laws. Mohism advocated a communal, decentralized government centered on frugality and ascetism. The Agrarians advocated a peasant utopian communalism and egalitarianism. Taoism advocated a proto-anarchism. Legalism was the dominant political philosophy of the Qin Dynasty, but was replaced by State Confucianism in the Han Dynasty. Prior to China's adoption of communism, State Confucianism remained the dominant political philosophy of China up to the 20th century.
Western political philosophy originates in the philosophy of ancient Greece, where political philosophy dates back to at least Plato. Ancient Greece was dominated by city-states, which experimented with various forms of political organization, grouped by Plato into four categories: timocracy, tyranny, democracy and oligarchy. One of the first, extremely important classical works of political philosophy is Plato's Republic, which was followed by Aristotle's Nichomachean Ethics and Politics. Roman political philosophy was influenced by the Stoics, including the Roman statesman Cicero.
Indian political philosophy evolved in ancient times and demarcated a clear distinction between (1) nation and state (2) religion and state. The constitutions of Hindu states evolved over time and were based on political and legal treatises and prevalent social institutions. The institutions of state were broadly divided into governance, administration, defense, law and order. Mantranga, the principal governing body of these states, consisted of the King, Prime Minister, Commander in chief of army, Chief Priest of the King. The Prime Minister headed the committee of ministers along with head of executive (Maha Amatya).
Chanakya, 4th Century BC Indian political philosopher. The Arthashastra provides an account of the science of politics for a wise ruler, policies for foreign affairs and wars, the system of a spy state and surveillance and economic stability of the state. Chanakya quotes several authorities including Bruhaspati, Ushanas, Prachetasa Manu, Parasara, and Ambi, and described himself as a descendant of a lineage of political philosophers, with his father Chanaka being his immediate predecessor. Another influential extant Indian treatise on political philosophy is the Sukra Neeti. An example of a code of law in ancient India is the Manusmṛti or Laws of Manu.
The early Christian philosophy of Augustine of Hippo was heavily influenced by Plato. A key change brought about by Christian thought was the moderatation of the Stoicism and theory of justice of the Roman world, as well emphasis on the role of the state in applying mercy as a moral example. Augustine also preached that one was not a member of his or her city, but was either a citizen of the City of God (Civitas Dei) or the City of Man (Civitas Terrena). Augustine's City of God is an influential work of this period that attacked the thesis, held by many Christian Romans, that the Christian view could be realized on Earth.
The rise of Islam, based on both the Qur'an and Muhammad strongly altered the power balances and perceptions of origin of power in the Mediterranean region. Early Islamic philosophy emphasized an inexorable link between science and religion, and the process of ijtihad to find truth—in effect all philosophy was "political" as it had real implications for governance. This view was challenged by the "rationalist" Mutazilite philosophers, who held a more Hellenic view, reason above revelation, and as such are known to modern scholars as the first speculative theologians of Islam; they were supported by a secular aristocracy who sought freedom of action independent of the Caliphate. By the late ancient period, however, the "traditionalist" Asharite view of Islam had in general triumphed. According to the Asharites, reason must be subordinate to the Quran and the Sunna.
Islamic political philosophy, was, indeed, rooted in the very sources of Islam—i.e., the Qur'an and the Sunnah, the words and practices of Muhammad—thus making it essentially theocratic. However, in the Western thought, it is generally supposed that it was a specific area peculiar merely to the great philosophers of Islam: al-Kindi (Alkindus), al-Farabi (Abunaser), İbn Sina (Avicenna), Ibn Bajjah (Avempace), Ibn Rushd (Averroes), and Ibn Khaldun. The political conceptions of Islam such as kudrah (power), sultan, ummah, cemaa (obligation)-and even the "core" terms of the Qur'an—i.e., ibadah (worship), din (religion), rab (master) and ilah (deity)—is taken as the basis of an analysis. Hence, not only the ideas of the Muslim political philosophers but also many other jurists and ulama posed political ideas and theories. For example, the ideas of the Khawarij in the very early years of Islamic history on Khilafa and Ummah, or that of Shia Islam on the concept of Imamah are considered proofs of political thought. The clashes between the Ehl-i Sunna and Shia in the 7th and 8th centuries had a genuine political character.
Medieval political philosophy in Europe was heavily influenced by Christian thinking. It had much in common with the Mutazalite Islamic thinking in that the Roman Catholics though subordinating philosophy to theology did not subject reason to revelation but in the case of contradictions, subordinated reason to faith as the Asharite of Islam. The Scholastics by combining the philosophy of Aristotle with the Christianity of St. Augustine emphasized the potential harmony inherent in reason and revelation. Perhaps the most influential political philosopher of medieval Europe was St. Thomas Aquinas who helped reintroduce Aristotle's works, which had only been transmitted to Catholic Europe through Muslim Spain, along with the commentaries of Averroes. Aquinas's use of them set the agenda, for scholastic political philosophy dominated European thought for centuries even unto the Renaissance.
One of the most influential works during this burgeoning period was Niccolò Machiavelli's The Prince, written between 1511–12 and published in 1532, after Machiavelli's death. That work, as well as The Discourses, a rigorous analysis of the classical period, did much to influence modern political thought in the West. A minority (including Jean-Jacques Rousseau) interpreted The Prince as a satire meant to be given to the Medici after their recapture of Florence and their subsequent expulsion of Machiavelli from Florence. Though the work was written for the di Medici family in order to perhaps influence them to free him from exile, Machiavelli supported the Republic of Florence rather than the oligarchy of the di Medici family. At any rate, Machiavelli presents a pragmatic and somewhat consequentialist view of politics, whereby good and evil are mere means used to bring about an end—i.e., the secure and powerful state. Thomas Hobbes, well known for his theory of the social contract, goes on to expand this view at the start of the 17th century during the English Renaissance. Although neither Machiavelli nor Hobbes believed in the divine right of kings, they both believed in the inherent selfishness of the individual. It was necessarily this belief that led them to adopt a strong central power as the only means of preventing the disintegration of the social order.
These theorists were driven by two basic questions: one, by what right or need do people form states; and two, what the best form for a state could be. These fundamental questions involved a conceptual distinction between the concepts of "state" and "government." It was decided that "state" would refer to a set of enduring institutions through which power would be distributed and its use justified. The term "government" would refer to a specific group of people who occupied the institutions of the state, and create the laws and ordinances by which the people, themselves included, would be bound. This conceptual distinction continues to operate in political science, although some political scientists, philosophers, historians and cultural anthropologists have argued that most political action in any given society occurs outside of its state, and that there are societies that are not organized into states that nevertheless must be considered in political terms. As long as the concept of natural order was not introduced, the social sciences could not evolve independently of theistic thinking. Since the cultural revolution of the 17th century in England, which spread to France and the rest of Europe, society has been considered subject to natural laws akin to the physical world.
Political and economic relations were drastically influenced by these theories as the concept of the guild was subordinated to the theory of free trade, and Roman Catholic dominance of theology was increasingly challenged by Protestant churches subordinate to each nation-state, which also (in a fashion the Roman Catholic Church often decried angrily) preached in the vulgar or native language of each region. However, the enlightenment was an outright attack on religion, particularly Christianity. The most outspoken critic of the church in France was François Marie Arouet de Voltaire, a representative figure of the enlightenment. After Voltaire, religion would never be the same again in France.
In the Ottoman Empire, these ideological reforms did not take place and these views did not integrate into common thought until much later. As well, there was no spread of this doctrine within the New World and the advanced civilizations of the Aztec, Maya, Inca, Mohican, Delaware, Huron and especially the Iroquois. The Iroquois philosophy in particular gave much to Christian thought of the time and in many cases actually inspired some of the institutions adopted in the United States: for example, Benjamin Franklin was a great admirer of some of the methods of the Iroquois Confederacy, and much of early American literature emphasized the political philosophy of the natives.
John Locke in particular exemplified this new age of political theory with his work Two Treatises of Government. In it Locke proposes a state of nature theory that directly complements his conception of how political development occurs and how it can be founded through contractual obligation. Locke stood to refute Sir Robert Filmer's paternally founded political theory in favor of a natural system based on nature in a particular given system. The theory of the divine right of kings became a passing fancy, exposed to the type of ridicule with which John Locke treated it. Unlike Machiavelli and Hobbes but like Aquinas, Locke would accept Aristotle's dictum that man seeks to be happy in a state of social harmony as a social animal. Unlike Aquinas's preponderant view on the salvation of the soul from original sin, Locke believes man's mind comes into this world as tabula rasa. For Locke, knowledge is neither innate, revealed nor based on authority but subject to uncertainty tempered by reason, tolerance and moderation. According to Locke, an absolute ruler as proposed by Hobbes is unnecessary, for natural law is based on reason and seeking peace and survival for man.
The Marxist critique of capitalism — developed with Friedrich Engels — was, alongside liberalism and fascism, one of the defining ideological movements of the Twentieth Century. The industrial revolution produced a parallel revolution in political thought. Urbanization and capitalism greatly reshaped society. During this same period, the socialist movement began to form. In the mid-19th century, Marxism was developed, and socialism in general gained increasing popular support, mostly from the urban working class. Without breaking entirely from the past, Marx established principles that would be used by future revolutionaries of the 20th century namely Vladimir Lenin, Mao Zedong, Ho Chi Minh, and Fidel Castro. Though Hegel's philosophy of history is similar to Immanuel Kant's, and Karl Marx's theory of revolution towards the common good is partly based on Kant's view of history—Marx declared that he was turning Hegel's dialectic, which was "standing on its head", "the right side up again". Unlike Marx who believed in historical materialism, Hegel believed in the Phenomenology of Spirit. By the late 19th century, socialism and trade unions were established members of the political landscape. In addition, the various branches of anarchism, with thinkers such as Mikhail Bakunin, Pierre-Joseph Proudhon or Peter Kropotkin, and syndicalism also gained some prominence. In the Anglo-American world, anti-imperialism and pluralism began gaining currency at the turn of the 20th century.
World War I was a watershed event in human history, changing views of governments and politics. The Russian Revolution of 1917 (and similar, albeit less successful, revolutions in many other European countries) brought communism - and in particular the political theory of Leninism, but also on a smaller level Luxemburgism (gradually) - on the world stage. At the same time, social democratic parties won elections and formed governments for the first time, often as a result of the introduction of universal suffrage. However, a group of central European economists led by Austrian School economists Ludwig von Mises and Friedrich Hayek identified the collectivist underpinnings to the various new socialist and fascist doctrines of government power as being different brands of political totalitarianism.
From the end of World War II until 1971, when John Rawls published A Theory of Justice, political philosophy declined in the Anglo-American academic world, as analytic philosophers expressed skepticism about the possibility that normative judgments had cognitive content, and political science turned toward statistical methods and behavioralism. In continental Europe, on the other hand, the postwar decades saw a huge blossoming of political philosophy, with Marxism dominating the field. This was the time of Jean-Paul Sartre and Louis Althusser, and the victories of Mao Zedong in China and Fidel Castro in Cuba, as well as the events of May 1968 led to increased interest in revolutionary ideology, especially by the New Left. A number of continental European émigrés to Britain and the United States—including Karl Popper, Friedrich Hayek, Leo Strauss, Isaiah Berlin, Eric Voegelin and Judith Shklar—encouraged continued study in political philosophy in the Anglo-American world, but in the 1950s and 1960s they and their students remained at odds with the analytic establishment.
Communism remained an important focus especially during the 1950s and 1960s. Colonialism and racism were important issues that arose. In general, there was a marked trend towards a pragmatic approach to political issues, rather than a philosophical one. Much academic debate regarded one or both of two pragmatic topics: how (or whether) to apply utilitarianism to problems of political policy, or how (or whether) to apply economic models (such as rational choice theory) to political issues. The rise of feminism, LGBT social movements and the end of colonial rule and of the political exclusion of such minorities as African Americans and sexual minorities in the developed world has led to feminist, postcolonial, and multicultural thought becoming significant. This led to a challenge to the social contract by philosophers Charles W. Mills in his book The Racial Contract and Carole Patemen in her book The Sexual Contract that the social contract excluded persons of colour and women respectively.
In Anglo-American academic political philosophy, the publication of John Rawls's A Theory of Justice in 1971 is considered a milestone. Rawls used a thought experiment, the original position, in which representative parties choose principles of justice for the basic structure of society from behind a veil of ignorance. Rawls also offered a criticism of utilitarian approaches to questions of political justice. Robert Nozick's 1974 book Anarchy, State, and Utopia, which won a National Book Award, responded to Rawls from a libertarian perspective and gained academic respectability for libertarian viewpoints.
Contemporaneously with the rise of analytic ethics in Anglo-American thought, in Europe several new lines of philosophy directed at critique of existing societies arose between the 1950s and 1980s. Most of these took elements of Marxist economic analysis, but combined them with a more cultural or ideological emphasis. Out of the Frankfurt School, thinkers like Herbert Marcuse, Theodor W. Adorno, Max Horkheimer, and Jürgen Habermas combined Marxian and Freudian perspectives. Along somewhat different lines, a number of other continental thinkers—still largely influenced by Marxism—put new emphases on structuralism and on a "return to Hegel". Within the (post-) structuralist line (though mostly not taking that label) are thinkers such as Gilles Deleuze, Michel Foucault, Claude Lefort, and Jean Baudrillard. The Situationists were more influenced by Hegel; Guy Debord, in particular, moved a Marxist analysis of commodity fetishism to the realm of consumption, and looked at the relation between consumerism and dominant ideology formation.
Another debate developed around the (distinct) criticisms of liberal political theory made by Michael Walzer, Michael Sandel and Charles Taylor. The liberal-communitarian debate is often considered valuable for generating a new set of philosophical problems, rather than a profound and illuminating clash of perspective.These and other communitarians (such as Alasdair MacIntyre and Daniel A. Bell) argue that, contra liberalism, communities are prior to individuals and therefore should be the center of political focus. Communitarians tend to support greater local control as well as economic and social policies which encourage the growth of social capital.
A pair of overlapping political perspectives arising toward the end of the 20th century are republicanism (or neo- or civic-republicanism) and the capability approach. The resurgent republican movement aims to provide an alternate definition of liberty from Isaiah Berlin's positive and negative forms of liberty, namely "liberty as non-domination." Unlike liberals who understand liberty as "non-interference," "non-domination" entails individuals not being subject to the arbitrary will of anyother person. To a liberal, a slave who is not interfered with may be free, yet to a republican the mere status as a slave, regardless of how that slave is treated, is objectionable. Prominent republicans include historian Quentin Skinner, jurist Cass Sunstein, and political philosopher Philip Pettit. The capability approach, pioneered by economists Mahbub ul Haq and Amartya Sen and further developed by legal scholar Martha Nussbaum, understands freedom under allied lines: the real-world ability to act. Both the capability approach and republicanism treat choice as something which must be resourced. In other words, it is not enough to be legally able to do something, but to have the real option of doing it.
An alloy is a mixture of metals or a mixture of a metal and another element. Alloys are defined by metallic bonding character. An alloy may be a solid solution of metal elements (a single phase) or a mixture of metallic phases (two or more solutions). Intermetallic compounds are alloys with a defined stoichiometry and crystal structure. Zintl phases are also sometimes considered alloys depending on bond types (see also: Van Arkel-Ketelaar triangle for information on classifying bonding in binary compounds).
An alloy is a mixture of either pure or fairly pure chemical elements, which forms an impure substance (admixture) that retains the characteristics of a metal. An alloy is distinct from an impure metal, such as wrought iron, in that, with an alloy, the added impurities are usually desirable and will typically have some useful benefit. Alloys are made by mixing two or more elements; at least one of which being a metal. This is usually called the primary metal or the base metal, and the name of this metal may also be the name of the alloy. The other constituents may or may not be metals but, when mixed with the molten base, they will be soluble, dissolving into the mixture.
When the alloy cools and solidifies (crystallizes), its mechanical properties will often be quite different from those of its individual constituents. A metal that is normally very soft and malleable, such as aluminium, can be altered by alloying it with another soft metal, like copper. Although both metals are very soft and ductile, the resulting aluminium alloy will be much harder and stronger. Adding a small amount of non-metallic carbon to iron produces an alloy called steel. Due to its very-high strength and toughness (which is much higher than pure iron), and its ability to be greatly altered by heat treatment, steel is one of the most common alloys in modern use. By adding chromium to steel, its resistance to corrosion can be enhanced, creating stainless steel, while adding silicon will alter its electrical characteristics, producing silicon steel.
Although the elements usually must be soluble in the liquid state, they may not always be soluble in the solid state. If the metals remain soluble when solid, the alloy forms a solid solution, becoming a homogeneous structure consisting of identical crystals, called a phase. If the mixture cools and the constituents become insoluble, they may separate to form two or more different types of crystals, creating a heterogeneous microstructure of different phases. However, in other alloys, the insoluble elements may not separate until after crystallization occurs. These alloys are called intermetallic alloys because, if cooled very quickly, they first crystallize as a homogeneous phase, but they are supersaturated with the secondary constituents. As time passes, the atoms of these supersaturated alloys separate within the crystals, forming intermetallic phases that serve to reinforce the crystals internally.
Some alloys occur naturally, such as electrum, which is an alloy that is native to Earth, consisting of silver and gold. Meteorites are sometimes made of naturally occurring alloys of iron and nickel, but are not native to the Earth. One of the first alloys made by humans was bronze, which is made by mixing the metals tin and copper. Bronze was an extremely useful alloy to the ancients, because it is much stronger and harder than either of its components. Steel was another common alloy. However, in ancient times, it could only be created as an accidental byproduct from the heating of iron ore in fires (smelting) during the manufacture of iron. Other ancient alloys include pewter, brass and pig iron. In the modern age, steel can be created in many forms. Carbon steel can be made by varying only the carbon content, producing soft alloys like mild steel or hard alloys like spring steel. Alloy steels can be made by adding other elements, such as molybdenum, vanadium or nickel, resulting in alloys such as high-speed steel or tool steel. Small amounts of manganese are usually alloyed with most modern-steels because of its ability to remove unwanted impurities, like phosphorus, sulfur and oxygen, which can have detrimental effects on the alloy. However, most alloys were not created until the 1900s, such as various aluminium, titanium, nickel, and magnesium alloys. Some modern superalloys, such as incoloy, inconel, and hastelloy, may consist of a multitude of different components.
The term alloy is used to describe a mixture of atoms in which the primary constituent is a metal. The primary metal is called the base, the matrix, or the solvent. The secondary constituents are often called solutes. If there is a mixture of only two types of atoms, not counting impurities, such as a copper-nickel alloy, then it is called a binary alloy. If there are three types of atoms forming the mixture, such as iron, nickel and chromium, then it is called a ternary alloy. An alloy with four constituents is a quaternary alloy, while a five-part alloy is termed a quinary alloy. Because the percentage of each constituent can be varied, with any mixture the entire range of possible variations is called a system. In this respect, all of the various forms of an alloy containing only two constituents, like iron and carbon, is called a binary system, while all of the alloy combinations possible with a ternary alloy, such as alloys of iron, carbon and chromium, is called a ternary system.
Although an alloy is technically an impure metal, when referring to alloys, the term "impurities" usually denotes those elements which are not desired. These impurities are often found in the base metals or the solutes, but they may also be introduced during the alloying process. For instance, sulfur is a common impurity in steel. Sulfur combines readily with iron to form iron sulfide, which is very brittle, creating weak spots in the steel. Lithium, sodium and calcium are common impurities in aluminium alloys, which can have adverse effects on the structural integrity of castings. Conversely, otherwise pure-metals that simply contain unwanted impurities are often called "impure metals" and are not usually referred to as alloys. Oxygen, present in the air, readily combines with most metals to form metal oxides; especially at higher temperatures encountered during alloying. Great care is often taken during the alloying process to remove excess impurities, using fluxes, chemical additives, or other methods of extractive metallurgy.
The term "alloy" is sometimes used in everyday speech as a synonym for a particular alloy. For example, automobile wheels made of an aluminium alloy are commonly referred to as simply "alloy wheels", although in point of fact steels and most other metals in practical use are also alloys. Steel is such a common alloy that many items made from it, like wheels, barrels, or girders, are simply referred to by the name of the item, assuming it is made of steel. When made from other materials, they are typically specified as such, (i.e.: "bronze wheel," "plastic barrel," or "wood girder").
Alloying a metal is done by combining it with one or more other metals or non-metals that often enhance its properties. For example, steel is stronger than iron, its primary element. The electrical and thermal conductivity of alloys is usually lower than that of the pure metals. The physical properties, such as density, reactivity, Young's modulus of an alloy may not differ greatly from those of its elements, but engineering properties such as tensile strength and shear strength may be substantially different from those of the constituent materials. This is sometimes a result of the sizes of the atoms in the alloy, because larger atoms exert a compressive force on neighboring atoms, and smaller atoms exert a tensile force on their neighbors, helping the alloy resist deformation. Sometimes alloys may exhibit marked differences in behavior even when small amounts of one element are present. For example, impurities in semiconducting ferromagnetic alloys lead to different properties, as first predicted by White, Hogan, Suhl, Tian Abrie and Nakamura. Some alloys are made by melting and mixing two or more metals. Bronze, an alloy of copper and tin, was the first alloy discovered, during the prehistoric period now known as the bronze age; it was harder than pure copper and originally used to make tools and weapons, but was later superseded by metals and alloys with better properties. In later times bronze has been used for ornaments, bells, statues, and bearings. Brass is an alloy made from copper and zinc.
Alloys are often made to alter the mechanical properties of the base metal, to induce hardness, toughness, ductility, or other desired properties. Most metals and alloys can be work hardened by creating defects in their crystal structure. These defects are created during plastic deformation, such as hammering or bending, and are permanent unless the metal is recrystallized. However, some alloys can also have their properties altered by heat treatment. Nearly all metals can be softened by annealing, which recrystallizes the alloy and repairs the defects, but not as many can be hardened by controlled heating and cooling. Many alloys of aluminium, copper, magnesium, titanium, and nickel can be strengthened to some degree by some method of heat treatment, but few respond to this to the same degree that steel does.
At a certain temperature, (usually between 1,500 °F (820 °C) and 1,600 °F (870 °C), depending on carbon content), the base metal of steel undergoes a change in the arrangement of the atoms in its crystal matrix, called allotropy. This allows the small carbon atoms to enter the interstices of the iron crystal, diffusing into the iron matrix. When this happens, the carbon atoms are said to be in solution, or mixed with the iron, forming a single, homogeneous, crystalline phase called austenite. If the steel is cooled slowly, the iron will gradually change into its low temperature allotrope. When this happens the carbon atoms will no longer be soluble with the iron, and will be forced to precipitate out of solution, nucleating into the spaces between the crystals. The steel then becomes heterogeneous, being formed of two phases; the carbon (carbide) phase cementite, and ferrite. This type of heat treatment produces steel that is rather soft and bendable. However, if the steel is cooled quickly the carbon atoms will not have time to precipitate. When rapidly cooled, a diffusionless (martensite) transformation occurs, in which the carbon atoms become trapped in solution. This causes the iron crystals to deform intrinsically when the crystal structure tries to change to its low temperature state, making it very hard and brittle.
Conversely, most heat-treatable alloys are precipitation hardening alloys, which produce the opposite effects that steel does. When heated to form a solution and then cooled quickly, these alloys become much softer than normal, during the diffusionless transformation, and then harden as they age. The solutes in these alloys will precipitate over time, forming intermetallic phases, which are difficult to discern from the base metal. Unlike steel, in which the solid solution separates to form different crystal phases, precipitation hardening alloys separate to form different phases within the same crystal. These intermetallic alloys appear homogeneous in crystal structure, but tend to behave heterogeneous, becoming hard and somewhat brittle.
When a molten metal is mixed with another substance, there are two mechanisms that can cause an alloy to form, called atom exchange and the interstitial mechanism. The relative size of each element in the mix plays a primary role in determining which mechanism will occur. When the atoms are relatively similar in size, the atom exchange method usually happens, where some of the atoms composing the metallic crystals are substituted with atoms of the other constituent. This is called a substitutional alloy. Examples of substitutional alloys include bronze and brass, in which some of the copper atoms are substituted with either tin or zinc atoms. With the interstitial mechanism, one atom is usually much smaller than the other, so cannot successfully replace an atom in the crystals of the base metal. The smaller atoms become trapped in the spaces between the atoms in the crystal matrix, called the interstices. This is referred to as an interstitial alloy. Steel is an example of an interstitial alloy, because the very small carbon atoms fit into interstices of the iron matrix. Stainless steel is an example of a combination of interstitial and substitutional alloys, because the carbon atoms fit into the interstices, but some of the iron atoms are replaced with nickel and chromium atoms.
The use of alloys by humans started with the use of meteoric iron, a naturally occurring alloy of nickel and iron. It is the main constituent of iron meteorites which occasionally fall down on Earth from outer space. As no metallurgic processes were used to separate iron from nickel, the alloy was used as it was. Meteoric iron could be forged from a red heat to make objects such as tools, weapons, and nails. In many cultures it was shaped by cold hammering into knives and arrowheads. They were often used as anvils. Meteoric iron was very rare and valuable, and difficult for ancient people to work.
Iron is usually found as iron ore on Earth, except for one deposit of native iron in Greenland, which was used by the Inuit people. Native copper, however, was found worldwide, along with silver, gold and platinum, which were also used to make tools, jewelry, and other objects since Neolithic times. Copper was the hardest of these metals, and the most widely distributed. It became one of the most important metals to the ancients. Eventually, humans learned to smelt metals such as copper and tin from ore, and, around 2500 BC, began alloying the two metals to form bronze, which is much harder than its ingredients. Tin was rare, however, being found mostly in Great Britain. In the Middle East, people began alloying copper with zinc to form brass. Ancient civilizations took into account the mixture and the various properties it produced, such as hardness, toughness and melting point, under various conditions of temperature and work hardening, developing much of the information contained in modern alloy phase diagrams. Arrowheads from the Chinese Qin dynasty (around 200 BC) were often constructed with a hard bronze-head, but a softer bronze-tang, combining the alloys to prevent both dulling and breaking during use.
Mercury has been smelted from cinnabar for thousands of years. Mercury dissolves many metals, such as gold, silver, and tin, to form amalgams (an alloy in a soft paste, or liquid form at ambient temperature). Amalgams have been used since 200 BC in China for plating objects with precious metals, called gilding, such as armor and mirrors. The ancient Romans often used mercury-tin amalgams for gilding their armor. The amalgam was applied as a paste and then heated until the mercury vaporized, leaving the gold, silver, or tin behind. Mercury was often used in mining, to extract precious metals like gold and silver from their ores.
Many ancient civilizations alloyed metals for purely aesthetic purposes. In ancient Egypt and Mycenae, gold was often alloyed with copper to produce red-gold, or iron to produce a bright burgundy-gold. Gold was often found alloyed with silver or other metals to produce various types of colored gold. These metals were also used to strengthen each other, for more practical purposes. Copper was often added to silver to make sterling silver, increasing its strength for use in dishes, silverware, and other practical items. Quite often, precious metals were alloyed with less valuable substances as a means to deceive buyers. Around 250 BC, Archimedes was commissioned by the king to find a way to check the purity of the gold in a crown, leading to the famous bath-house shouting of "Eureka!" upon the discovery of Archimedes' principle.
The term pewter covers a variety of alloys consisting primarily of tin. As a pure metal, tin was much too soft to be used for any practical purpose. However, in the Bronze age, tin was a rare metal and, in many parts of Europe and the Mediterranean, was often valued higher than gold. To make jewelry, forks and spoons, or other objects from tin, it was usually alloyed with other metals to increase its strength and hardness. These metals were typically lead, antimony, bismuth or copper. These solutes sometimes were added individually in varying amounts, or added together, making a wide variety of things, ranging from practical items, like dishes, surgical tools, candlesticks or funnels, to decorative items such as ear rings and hair clips.
The first known smelting of iron began in Anatolia, around 1800 BC. Called the bloomery process, it produced very soft but ductile wrought iron. By 800 BC, iron-making technology had spread to Europe, arriving in Japan around 700 AD. Pig iron, a very hard but brittle alloy of iron and carbon, was being produced in China as early as 1200 BC, but did not arrive in Europe until the Middle Ages. Pig iron has a lower melting point than iron, and was used for making cast-iron. However, these metals found little practical use until the introduction of crucible steel around 300 BC. These steels were of poor quality, and the introduction of pattern welding, around the 1st century AD, sought to balance the extreme properties of the alloys by laminating them, to create a tougher metal. Around 700 AD, the Japanese began folding bloomery-steel and cast-iron in alternating layers to increase the strength of their swords, using clay fluxes to remove slag and impurities. This method of Japanese swordsmithing produced one of the purest steel-alloys of the early Middle Ages.
While the use of iron started to become more widespread around 1200 BC, mainly because of interruptions in the trade routes for tin, the metal is much softer than bronze. However, very small amounts of steel, (an alloy of iron and around 1% carbon), was always a byproduct of the bloomery process. The ability to modify the hardness of steel by heat treatment had been known since 1100 BC, and the rare material was valued for the manufacture of tools and weapons. Because the ancients could not produce temperatures high enough to melt iron fully, the production of steel in decent quantities did not occur until the introduction of blister steel during the Middle Ages. This method introduced carbon by heating wrought iron in charcoal for long periods of time, but the penetration of carbon was not very deep, so the alloy was not homogeneous. In 1740, Benjamin Huntsman began melting blister steel in a crucible to even out the carbon content, creating the first process for the mass production of tool steel. Huntsman's process was used for manufacturing tool steel until the early 1900s.
With the introduction of the blast furnace to Europe in the Middle Ages, pig iron was able to be produced in much higher volumes than wrought iron. Because pig iron could be melted, people began to develop processes of reducing the carbon in the liquid pig iron to create steel. Puddling was introduced during the 1700s, where molten pig iron was stirred while exposed to the air, to remove the carbon by oxidation. In 1858, Sir Henry Bessemer developed a process of steel-making by blowing hot air through liquid pig iron to reduce the carbon content. The Bessemer process was able to produce the first large scale manufacture of steel. Once the Bessemer process began to gain widespread use, other alloys of steel began to follow. Mangalloy, an alloy of steel and manganese exhibiting extreme hardness and toughness, was one of the first alloy steels, and was created by Robert Hadfield in 1882.
In 1906, precipitation hardening alloys were discovered by Alfred Wilm. Precipitation hardening alloys, such as certain alloys of aluminium, titanium, and copper, are heat-treatable alloys that soften when quenched (cooled quickly), and then harden over time. After quenching a ternary alloy of aluminium, copper, and magnesium, Wilm discovered that the alloy increased in hardness when left to age at room temperature. Although an explanation for the phenomenon was not provided until 1919, duralumin was one of the first "age hardening" alloys to be used, and was soon followed by many others. Because they often exhibit a combination of high strength and low weight, these alloys became widely used in many forms of industry, including the construction of modern aircraft.
Norfolk Island (i/ˈnɔːrfək ˈaɪlənd/; Norfuk: Norf'k Ailen) is a small island in the Pacific Ocean located between Australia, New Zealand and New Caledonia, 1,412 kilometres (877 mi) directly east of mainland Australia's Evans Head, and about 900 kilometres (560 mi) from Lord Howe Island. The island is part of the Commonwealth of Australia. Together with two neighbouring islands, it forms one of Australia's external territories. It has 1,796 inhabitants living on a total area of about 35 km2 (14 sq mi). Its capital is Kingston.
Norfolk Island was colonised by East Polynesians but was long unpeopled when it was settled by Great Britain as part of its settlement of Australia from 1788. The island served as a convict penal settlement from 6 March 1788 until 5 May 1855, except for an 11-year hiatus between 15 February 1814 and 6 June 1825, when it lay abandoned. On 8 June 1856, permanent civilian residence on the island began when it was settled from Pitcairn Island. In 1913, the UK handed Norfolk over to Australia to administer as an external territory.
Sir John Call argued the advantages of Norfolk Island in that it was uninhabited and that New Zealand flax grew there. In 1786 the British government included Norfolk Island as an auxiliary settlement, as proposed by John Call, in its plan for colonisation of New South Wales. The decision to settle Norfolk Island was taken due to Empress Catherine II of Russia's decision to restrict sales of hemp. Practically all the hemp and flax required by the Royal Navy for cordage and sailcloth was imported from Russia.
As early as 1794, Lieutenant-Governor of New South Wales Francis Grose suggested its closure as a penal settlement, as it was too remote and difficult for shipping and too costly to maintain. The first group of people left in February 1805, and by 1808 only about 200 remained, forming a small settlement until the remnants were removed in 1813. A small party remained to slaughter stock and destroy all buildings, so that there would be no inducement for anyone, especially from other European powers, to visit and lay claim to the place. From 15 February 1814 to 6 June 1825 the island was abandoned.
In 1824 the British government instructed the Governor of New South Wales Thomas Brisbane to occupy Norfolk Island as a place to send "the worst description of convicts". Its remoteness, previously seen as a disadvantage, was now viewed as an asset for the detention of recalcitrant male prisoners. The convicts detained have long been assumed to be a hardcore of recidivists, or 'doubly-convicted capital respites' – that is, men transported to Australia who committed fresh colonial crimes for which they were sentenced to death, and were spared the gallows on condition of life at Norfolk Island. However, a recent study has demonstrated, utilising a database of 6,458 Norfolk Island convicts, that the reality was somewhat different: more than half were detained at Norfolk Island without ever receiving a colonial conviction, and only 15% had been reprieved from a death sentence. Furthermore, the overwhelming majority of convicts sent to Norfolk Island had committed non-violent property sentences, and the average length of detention was three years.
On 8 June 1856, the next settlement began on Norfolk Island. These were the descendants of Tahitians and the HMS Bounty mutineers, including those of Fletcher Christian. They resettled from the Pitcairn Islands, which had become too small for their growing population. On 3 May 1856, 193 persons left Pitcairn Islands aboard the "Morayshire". On 8 June 194 persons arrived, a baby having been born in transit. The Pitcairners occupied many of the buildings remaining from the penal settlements, and gradually established traditional farming and whaling industries on the island. Although some families decided to return to Pitcairn in 1858 and 1863, the island's population continued to grow. They accepted additional settlers, who often arrived with whaling fleets.
After the creation of the Commonwealth of Australia in 1901, Norfolk Island was placed under the authority of the new Commonwealth government to be administered as an external territory. During World War II, the island became a key airbase and refuelling depot between Australia and New Zealand, and New Zealand and the Solomon Islands. The airstrip was constructed by Australian, New Zealand and United States servicemen during 1942. Since Norfolk Island fell within New Zealand's area of responsibility it was garrisoned by a New Zealand Army unit known as N Force at a large Army camp which had the capacity to house a 1,500 strong force. N Force relieved a company of the Second Australian Imperial Force. The island proved too remote to come under attack during the war and N Force left the island in February 1944.
Financial problems and a reduction in tourism led to Norfolk Island's administration appealing to the Australian federal government for assistance in 2010. In return, the islanders were to pay income tax for the first time but would be eligible for greater welfare benefits. However, by May 2013 agreement had not been reached and islanders were having to leave to find work and welfare. An agreement was finally signed in Canberra on 12 March 2015 to replace self-government with a local council but against the wishes of the Norfolk Island government. A majority of Norfolk Islanders have objected to the Australian plan to make changes to Norfolk Island without first consulting them and allowing their say with 68% of voters against forced changes.
Norfolk Island is located in the South Pacific Ocean, east of the Australian mainland. Norfolk Island is the main island of the island group the territory encompasses and is located at 29°02′S 167°57′E / 29.033°S 167.950°E / -29.033; 167.950. It has an area of 34.6 square kilometres (13.4 sq mi), with no large-scale internal bodies of water and 32 km (20 mi) of coastline. The island's highest point is Mount Bates (319 metres (1,047 feet) above sea level), located in the northwest quadrant of the island. The majority of the terrain is suitable for farming and other agricultural uses. Phillip Island, the second largest island of the territory, is located at 29°07′S 167°57′E / 29.117°S 167.950°E / -29.117; 167.950, seven kilometres (4.3 miles) south of the main island.
The coastline of Norfolk Island consists, to varying degrees, of cliff faces. A downward slope exists towards Slaughter Bay and Emily Bay, the site of the original colonial settlement of Kingston. There are no safe harbour facilities on Norfolk Island, with loading jetties existing at Kingston and Cascade Bay. All goods not domestically produced are brought in by ship, usually to Cascade Bay. Emily Bay, protected from the Pacific Ocean by a small coral reef, is the only safe area for recreational swimming, although surfing waves can be found at Anson and Ball Bays.
Norfolk Island has 174 native plants; 51 of them are endemic. At least 18 of the endemic species are rare or threatened. The Norfolk Island palm (Rhopalostylis baueri) and the smooth tree-fern (Cyathea brownii), the tallest tree-fern in the world, are common in the Norfolk Island National Park but rare elsewhere on the island. Before European colonization, most of Norfolk Island was covered with subtropical rain forest, the canopy of which was made of Araucaria heterophylla (Norfolk Island pine) in exposed areas, and the palm Rhopalostylis baueri and tree ferns Cyathea brownii and C. australis in moister protected areas. The understory was thick with lianas and ferns covering the forest floor. Only one small tract (5 km2) of rainforest remains, which was declared as the Norfolk Island National Park in 1986.
As a relatively small and isolated oceanic island, Norfolk has few land birds but a high degree of endemicity among them. Many of the endemic species and subspecies have become extinct as a result of massive clearance of the island's native vegetation of subtropical rainforest for agriculture, hunting and persecution as agricultural pests. The birds have also suffered from the introduction of mammals such as rats, cats, pigs and goats, as well as from introduced competitors such as common blackbirds and crimson rosellas.
The Norfolk Island Group Nepean Island is also home to breeding seabirds. The providence petrel was hunted to local extinction by the beginning of the 19th century, but has shown signs of returning to breed on Phillip Island. Other seabirds breeding there include the white-necked petrel, Kermadec petrel, wedge-tailed shearwater, Australasian gannet, red-tailed tropicbird and grey ternlet. The sooty tern (known locally as the whale bird) has traditionally been subject to seasonal egg harvesting by Norfolk Islanders.
Cetaceans were historically abundant around the island as commercial hunts on the island was operating until 1956. Today, numbers of larger whales have disappeared, but even today many species such humpback whale, minke whale, sei whale, and dolphins can be observed close to shores, and scientific surveys have been conducted regularly. Southern right whales were once regular migrants to the Norfolk hence naming the island as the "Middle ground" by whalers, but had been severely depleted by historical hunts, and further by illegal Soviet and Japan whaling, resulting in none of very few, if remnants still live, right whales in these regions along with Lord Howe Island.
Sixty-two percent of islanders are Christians. After the death of the first chaplain Rev G. H. Nobbs in 1884, a Methodist church was formed and in 1891 a Seventh-day Adventist congregation led by one of Nobbs' sons. Some unhappiness with G. H. Nobbs, the more organised and formal ritual of the Church of England service arising from the influence of the Melanesian Mission, decline in spirituality, the influence of visiting American whalers, literature sent by Christians overseas impressed by the Pitcairn story, and the adoption of Seventh-day Adventism by the descendants of the mutineers still on Pitcairn, all contributed to these developments. The Roman Catholic Church began work in 1957 and in the late 1990s a group left the former Methodist (then Uniting Church) and formed a charismatic fellowship. In 2011, 34 percent of the ordinary residents identified as Anglican, 13 percent as Uniting Church, 12 percent as Roman Catholic and three percent as Seventh-day Adventist. Nine percent were from other religions. Twenty four percent had no religion, and seven percent did not indicate a religion. Typical ordinary congregations in any church do not exceed 30 local residents as of 2010[update]. The three older denominations have good facilities. Ministers are usually short-term visitors.
Islanders speak both English and a creole language known as Norfuk, a blend of 18th-century English and Tahitian. The Norfuk language is decreasing in popularity as more tourists travel to the island and more young people leave for work and study reasons; however, there are efforts to keep it alive via dictionaries and the renaming of some tourist attractions to their Norfuk equivalents. In 2004 an act of the Norfolk Island Assembly made it a co-official language of the island. The act is long-titled: "An Act to recognise the Norfolk Island Language (Norf'k) as an official language of Norfolk Island." The "language known as 'Norf'k'" is described as the language "that is spoken by descendants of the first free settlers of Norfolk Island who were descendants of the settlers of Pitcairn Island". The act recognises and protects use of the language but does not require it; in official use, it must be accompanied by an accurate translation into English. 32% of the total population reported speaking a language other than English in the 2011 census, and just under three-quarters of the ordinarily resident population could speak Norfuk.
Norfolk Island is the only non-mainland Australian territory to have achieved self-governance. The Norfolk Island Act 1979, passed by the Parliament of Australia in 1979, is the Act under which the island was governed until the passing of the Norfolk Island Legislation Amendment Act 2015. The Australian government maintains authority on the island through an Administrator, currently Gary Hardgrave. From 1979 to 2015, a Legislative Assembly was elected by popular vote for terms of not more than three years, although legislation passed by the Australian Parliament could extend its laws to the territory at will, including the power to override any laws made by the assembly.

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