Sign Up Now
Get instant access to over 1 million+ study documents
OR
Already registered? click here to login
By creating your account, you agree to our terms of service, privacy policy and student honor code.
The symbol and image of the bull for example is a motif that appears in many of his works prior to Guernica. (Larrea 11) These and other symbolic images, such as the dying hoses tend to emphasise the central thematic trajectory of the painting. The image of the horse in particular is a devastating image that is rendered in clear lines and stark contrasts of black and white. As one pundit notes,
Picasso could imagine more suffering in a horse's head than Rubens normally put into a whole Crucifixion. The spike tongues, the rolling eyes, the frantic splayed toes and fingers, the necks arched in spasm: these would be unendurable if their tension were not braced against the broken, but visible, order of the painting. Picasso. New York: Harry N. Abrams, 1955. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=99009991.
Hughes)
While Picasso created this work in what is essentially a flat space he achieved a technical painterly depth through the use of formal elements such as color, line and foreshortening, as well as a depth of feeling and emotion that immediately draws a response from the viewer.
6. Conclusion
Picasso's work of art expands our perceptions and understanding of art on a number of related levels. In the first instance, the painting presents an historical event in a realistic as well as a symbolic manner. While the figures are not realistic in the ordinary sense of the term they are in fact more "realistic" than would have been the case if conventional representation has been used. By this is meant that they suggest and impart a sense of intense realism that reflects the agony and horror of war. Picasso's work also shows that through the use of color, line and other formal elements, a strong and intense emotion can be conveyed in a painting. The use of black and white and the various tones in the painting are also aspects that expand and renew our sense of the potential of art.
Bibliography www.questia.com/PM.qst?a=o&d=99009989
A www.questia.com/PM.qst?a=o&d=98067655
Cassou, Jean. Picasso. Trans. Mary Chamot. New York: The Art Book Publications, 1940. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=98067657.
A www.questia.com/PM.qst?a=o&d=3804692
Geiser, Bernhard, and Pablo Picasso. Picasso: Fifty-Five Years of His Graphic Work. New York: Harry N. Abrams, 1955. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=3804692.
Guernica: Testimony of War. 27 Apr. 2008. http://www.pbs.org/treasuresoftheworld/a_nav/guernica_nav/main_guerfrm.html www.questia.com/PM.qst?a=o&d=5018789916
Hannush, Mufid James. "Six Names of Beauty." Journal of Phenomenological Psychology 37.2 (2006): 267+. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=5018789916.
Hughes R. (1991) the Shock of the New, Art and the Century of Change,
Thames and Hudson. http://sbcb.bioch.ox.ac.uk/graham/guernika_comm.txt www.questia.com/PM.qst?a=o&d=14698036
Larrea, Juan. Guernica, Pablo Picasso. Trans. Alexander H. Krappe. Ed. Walter Pach. New York: Curt Valentin, 1947. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=14698036.
A www.questia.com/PM.qst?a=o&d=110185061
Lopes, Dominic Mciver. Sight and Sensibility: Evaluating Pictures. Oxford, England: Oxford University Press, 2005. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=110185063.
A www.questia.com/PM.qst?a=o&d=77321029
Picasso, Pablo. Picasso: His Later Works, 1938-1961. Ed. Daniel Catton Rich. Worcester, MA: Worcester Art Museum, 1962. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=77321031.
Bibliography www.questia.com/PM.qst?a=o&d=99009989
Boeck, Wilhelm, and Jaime Sabartes. Picasso. New York: Harry N. Abrams, 1955. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=99009991.
A www.questia.com/PM.qst?a=o&d=98067655
Cassou, Jean. Picasso. Trans. Mary Chamot. New York: The Art Book Publications, 1940. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=98067657.
A www.questia.com/PM.qst?a=o&d=3804692
Geiser, Bernhard, and Pablo Picasso. Picasso: Fifty-Five Years of His Graphic Work. New York: Harry N. Abrams, 1955. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=3804692.
Guernica: Testimony of War. 27 Apr. 2008. http://www.pbs.org/treasuresoftheworld/a_nav/guernica_nav/main_guerfrm.html www.questia.com/PM.qst?a=o&d=5018789916
Hannush, Mufid James. "Six Names of Beauty." Journal of Phenomenological Psychology 37.2 (2006): 267+. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=5018789916.
Thames and Hudson. http://sbcb.bioch.ox.ac.uk/graham/guernika_comm.txt www.questia.com/PM.qst?a=o&d=14698036
Larrea, Juan. Guernica, Pablo Picasso. Trans. Alexander H. Krappe. Ed. Walter Pach. New York: Curt Valentin, 1947. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=14698036.
Lopes, Dominic Mciver. Sight and Sensibility: Evaluating Pictures. Oxford, England: Oxford University Press, 2005. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=110185063.
Picasso, Pablo. Picasso: His Later Works, 1938-1961. Ed. Daniel Catton Rich. Worcester, MA: Worcester Art Museum, 1962. Questia. 27 Apr. 2008 http://www.questia.com/PM.qst?a=o&d=77321031.
Classicism and surrealism After the World War 1, neoclassical style of artwork was seen by Picasso. The paintings done by Picasso in this period were akin to the work done of Ingres and Raphael. It was in the 1930s when harlequin was substituted with minotaur. His utilization of minotaur was partially due to his connection with surrealists, who even now and then made use of it as their representation. During the Spanish
In brief, this painting is essentially a representation of the court of Philip IV and the focal point of the work is the Infanta Margarita who is surrounded by various figures, including her maids of honor, dwarfs and a dog. Las Meninas depicts a large room in the palace of King Philip IV of Spain and most of the figures can be identified as members of the Spanish Court. The
In essence the Cubists were not only concerned with the development of new artistic techniques, but their experimentation was also concerned with the search for a new and more dynamic perception of reality. As one commentator notes; "The Cubists sought to create spatial abstractions" (the AESTHETIC). As has been stated, Cubism depicts a new reality which was also in essence a form of protest against conventional ideas of both art
250). At this point in his career, Picasso could represent Stein quite well. The style is neither abstract nor entirely avant-garde: it is reflective, slightly off-kilter, but encompassing of the subject and her character. Picasso's portrait of Gertrude Stein, therefore, must be considered the better of the two, even if Rose's appears to be the more dynamic. Rose was an imitator, not exactly an orginal -- but then, could the
headline from May 2015. "Picasso's Women of Algiers Smashes Auction Record," is how the BBC phrased it, on May 12, noting that "Picasso's Women of Algiers has become the most expensive painting to sell at auction, going for $160 million" (Gompertz 2015). In the frequently dicey and volatile early twenty-first century economy, it is clear that high art has managed to maintain its value in a way that the
The basis of collage with is associated with humor and entertainment forms its captivating content, an element for passing its information. Materials that are used for collage are normally readily available old objects that have been disregarded. Use of new materials in the art is not restricted but again not considered to add value to the collage work. It is thus a considerably less expensive process as compared to