ABSTRACT
This chapter represents the iteration demonstrating the connections between architecture of the underprivileged classes and modernisms, in particular with the historical avant-garde. To explore the continuity of work of underprivileged classes to the present, we should see whether the neo-avant-garde influenced the underprivileged class's artistic practices in any way. The cubists never believed in the so-called "tradition" by itself, although they made references to it in certain paintings as in Les Demoiselles. The most extensive study on relationships between cubism and architecture was by Eve Blau and Nancy Troy. The study featured different discourses on architecture and cubist paintings from the early twentieth century. It acknowledged that Picasso, Braque, and Gris, the pioneers of the practice, did not vigorously pursue architecture in their work. The visual language of representation in the cubist images suggests that it was the art of a rebellious artistic group on the margin of the societies to which they belonged, what Geenberg called distance from society.
