Les Demoiselles D Avignon Term paper
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Les Demoiselles d Avignon:
The End of the Classical Style
Classical artists will always be remembered for building the foundations of art. However, there were many revolutionary artists after their time that revolutionized art into what it is today. Impressionists, led by Claude Monet, formed a group of artists originally rejected from the academies to paint in their own "objective reality." They painted art as sifted through their senses; taking into account the environment's affect on an object or placing the focus on everyday activity, the impressionists helped redefine art. While they started the process of the transformation of art, Pablo Picasso advanced it many times over, changing the face of art more profoundly then any other artist. Picasso painted art by what views he saw in his head and imagination, not by how his eyes or other senses interpreted a scene. He shamelessly broke all the classical rules of three-dimensional space, colors, figures and subject matter. In a style called "cubism", Picasso painted one of the most pivotal works of art in history, and began a new era with a single work of art. In Les Demoiselles d'Avignon, he painted his initial attempt at breaking all classical rules and changed the world of painting forever.
One aspect of Pablo Picasso's art that distinguishes him from earlier artists is the lack of three-dimensional space displayed in his art. In Les Demoiselles d'Avignon, the five lady figures seem to be enveloped in what might be construed as the background. In contrast to earlier Raphael paintings for instance, where red drapery serves as a frame for Mary and baby Jesus, Picasso's figures appear to be actually wearing the drapery. The far woman on the left appears without clothes, except for the piece of red drapery strewn across the right side of her body. Each successive figure shows her full body with the exception of where the drapery covers her. By redefining the three-dimensional space and forcing the characters to take on the full focus of the viewer, Picasso forces the observer to take an undiluted look at the women without the comfort of a beautiful landscape on which to fall back. While the women and the background mold into one, the only indication of any three-dimensional space is a small fruit basket in the foreground.
Although the truth is uncertain, even the tiny detail of this fruit basket may be another attempt of Picasso to break away from earlier artists. Containing grapes and two apples, the fruit basket sits on either a white table just in front of the ladies. While the bowl, coupled with the women's stares, serves to engage the viewer in his work, Picasso also might mean for the still life to mock earlier artists. While it used to be considered a necessity for artists to prove their ability in the academies by perfectly capturing still lives, Picasso's sarcastic portrait of the fruits could be a message to classical artists that there is more to art than the ability to paint fruit. Similarly, Picasso adds few aspects of shading to keep his mostly two-dimensional space. However, the shading he does add points out that like all great artists, he can perfect shading, although he is content to create his own rules. Although these concepts alone are enough to separate Picasso from classical artists, he goes to even further efforts to create his new style.
Pablo Picasso also distinguishes himself from other artists with his portrayal of the human figure by breaking up traditional forms of the body. In creating the figures of five naked women, Picasso rejects all classical teachings; he showed angular breasts without nipples, knees at sharp angles, a nose that resembles a triangle, off-center eyes, no navel, and no pubic hair on any of his models. In short, he seems to reject any mildly photograph-like portrayal of his women. It is almost as if some of the figures, especially the one on the far left, are replicating the pose of ancient Egyptian kings (Adams 467). Another strange aspect to this painting is the woman on the far right with a face of silver colored with green and the woman to the left of her with blue from her nose to her chin. This is most likely a reference to Picasso s interest in African art. Picasso certainly had a different perspective on women then...
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