Assess competing theoretical frameworks—formalist, Marxist, psychoanalytic, and postcolonial—used to interpret early 20th‑century Cubist painting (c.1907–1920). Critically evaluate each framework’s assumptions, evidentiary basis, and explanatory strengths and limitations; apply them to at least two canonical works (e.g., Picasso, Braque); consider methodological and historiographic implications; and defend which framework(s) most persuasively account for formal innovation, social context, and colonial/postcolonial dimensions, using primary and secondary sources.