Épatant

Épatant (pronounced a-pat-on)

Something startling or shocking, especially if unconventional

Circa 1910s: An adjective in French formed from the present participle of épater (to flabbergast), the construct being é- +‎ patte (paw) +‎ -er.  The é- prefix is from the Old French es-, from the Latin ex- & ē- and was used to indicate away or moving away from.  Patte is from the Middle French, from the Old French pade & pate (paw, foot of an animal), from the Vulgar Latin patta (paw, foot), borrowed from the Frankish patta (paw, sole of the foot), from the Proto-Germanic pat- & paþa- (to walk, tread, go, step), of uncertain origin and relation.  Possibly it was from the primitive Indo-European (s)pent- & (s)pat- (path; to walk), a variant of the primitive Indo-European pent- & pat- (path; to go).  It was cognate with the Dutch poot (paw) and the Low German pedden (to step, tread); it's related to both pad & path.  The suffix -er is from the Latin -āre, used to form infinitives of first-conjugation verbs (many of these verbs directly descended from Latin, rather than from stem + suffix).

Cubism

It’s probably no longer possible for a style of visual art to shock.  That may be because everything possible has been done or that the representational promiscuity of the last century has dulled collective sensitivity, certainly among Western audiences.  Put simply, new being no longer possible, nor is the shock of the new (Shock of the New (1972) is a strangely neglected book by art critic Ian Dunlop (b 1940), exploring seven exhibitions of the modern period, from the Salon des Refuses (Paris, 1863) to Joseph Goebbels’ Degenerate Art show (Munich, 1937); the title later re-used by Australian art critic Robert Hughes (1938–2012) for his 1980 TV show).

In the early days of modernity, painting genuinely could shock as cubism did in the years before the First World War.  Essentially a simplification of form and deconstruction of perspective, cubism played with ideas of mass, time and space, distorting deliberating the techniques artists had honed over the centuries in creating the three dimensional illusions rendered on inherently flat canvases.  The early works were still recognizably representational but soon, the movement seemed to morph into something which existed to shock and the geometric touches grew in intensity, sometimes overwhelming the represented forms, some of the later work really pure visual abstraction, the sort of self-indulgent technical ecstasy Comrade Stalin would later, in a similar context, condemn as “formalism”.

The origin of cubism is generally traced back to Pablo Picasso’s (1881-1973) painting Les Demoiselles d’Avignon (1907), a portrait of five prostitutes in a style influenced by the African tribal art which the artist had seen at the Palais du Trocadéro, a Paris ethnographic museum.  Curiously, Picasso chose to show the work only to fellow artists and it went unseen by the public until an exhibition in 1916.  Others certainly adopted its techniques, defining the first era of Cubism which came to be known as Analytical Cubism, marked by depictions of a subject from multiple vantage points at once, creating a fractured, multi-dimensional effect expressed usually with a small palette of colors.  The term cubism was used first in 1908 by French critic Louis Vauxcelles (1870-1943) but wasn’t widely employed until the press adopted in 1911 and it was then often used in a derogatory sense.

Although it’s convenient to think of Picasso’s 1907 Les Demoiselles d’Avignon as the first cubist painting and thus the beginning of Cubism, art critics are a schismatic lot, some tracing the origin of the style to earlier decades while others suggest it was the first proto-Cubist work, containing enough of the essential elements of the genre to be linked yet not sufficiently distinct from earlier traditions to belong.  These critiques emerged in the 1950s and 1960s, the dying days of modernity, a time when the post-war expansion of academic art criticism gave rise to an industry of revisionism so unrelenting that post-modernism was perhaps inevitable.