So if Les Desmoiselles d’Avignon was the work that in many ways began the era of Cubism in the art world, what followed its lead? Georges Braque, whose influence was powerful across the span of many artistic periods, painted Houses at l’Estaque (above middle) as a reactionary piece to Picasso’s first entré into the world of Cubism. As the Cubist styles prevailed, Braque and Picasso played off each other in many ways, each artist taking what he learned from the other and incorporating it in new ways into their own works. Houses at l’Estaque was the first Cubist landscape, and the first of many more Cubist styles that challenged every notion of perspective that the academic artists of the time strove to preserve.

Consider one of Braque’s later works from 1913, Violin and Pipe (above right). This collage was constructed less than a decade later, and yet its style is drastically different from the earlier Cubist styles that Braque and Picasso created in tandem with each other's styles. The best kind of artistic rebellion is the kind that shocks the viewers, because what makes great art so worth considering is its value as innovative windows into the artists’ inner consciousness. Before Braque, no one had considered the possibility of creating works of great art outside the traditional media, and yet Braque’s collages further pushed the envelope in ways that allowed movements like Dada to find their place in art history. Sadly, outside of the art world, Braque’s genius is largely under recognized thanks to the constant comparison to Picasso; however, it was Braque whose challenges brought out the best in his peer, and Braque who pushed the boundaries of what it meant to be a rebel.