14 results for "Pablo Picasso Essays"

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Picasso Cubism Mondrian Reference Work Essay

Words: 1147 Length: 3 Pages Document Type: Essay Paper #: 89801103

His clearest example of cubist-focused style is the Sea (1912), still in a Dutch style but increasing with the use of geometric shapes and interlocking planes.

When Mondrian looked at other cubist works, for instance, Picasso's famous Portrait of Daniel-Henry Kahnweiler, he would note that while it works as an abstraction, it is a bit "busy" and jumbled, something he would try to correct in the art world through his strict use of lines, spaces, and above all, austerity. He appreciated Picasso's use of coloration and timbre, and of his ability to juxtapose a number of scenes, emotions, and angled points-of-view within this work, but also found it to be a tad jumbled. Joking, he said, "I'm not sure how it makes me feel; there are numerous emotions rolling around in my head then I view this work, but I wonder if Pablo knew what he wanted to communicate, or even what things the subject was saying?" I think, thought Mondrian, that what this cubist approach lacks is balance.

In my Red, Blue, and Yellow, for example, there are still variations in light, some color, and geometrical planes and figures. However, rather than trying to capture something "real" -- deconstruct it and put it back together in a primitive or childlike manner, I think order and sense of self require. For instance, explaining this in 1914 to my friend H.P. Bremmer, I note:

To move the cubists in the proper direction, "I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things

I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can…… [Read More]

Resources:
Scjifreoder. G. (1997). Mondria's Opening: The Space of Pain. Foucsing.org; Cited in:

http://www.focusing.org/apm_papers/schuf.html

Mondrian -- the Sea
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Picasso And Braque Cubism Refers Essay

Words: 1299 Length: 5 Pages Document Type: Essay Paper #: 48908579

His "rose period,' 1905-1906, is characterized by the use of a lighter palette and "greater lyricism, with the subject matter often drawn from circus life" (Picasso pp). Moreover, his studio in Paris drew the major figures of this avant-garde era, such as Matisse, Braque, Apollinaire, and Gertrude Stein (Picasso pp).

Picasso's 1907 "Les Demoiselles d'Avignon," was a radical departure from traditional art and is now considered the "most significant work in the development toward cubism and modern abstraction" (Picasso pp). It is obvious that Picasso was greatly influence by Cezanne and by African sculpture as noted in "its fragmented forms and unprecedented distortions" (Picasso pp). This painting is considered to be the first phase of cubism, analytic cubism, 1909-1912, which is a "severe, intellectual style was conceived and developed by Picasso, Braque, and Gris" (Picasso pp). His "Female Nude," 1910-1911, is a representative painting of this style, and his "Woman's Head," 1909, is a representative sculpture (Picasso pp).

During the synthetic phase of cubism, after 1912, Picasso's forms became "larger and more representational, and flat, bright decorative patterns replaced the earlier, more austere compositions," and his 1921 "The Three Musicians" is a classic representation of this style (Picasso pp). Picasso's work during the cubist period firmly established that a work of art could exist as an important object "beyond any attempt to represent reality" (Picasso pp).

The concerns of Braque and Picasso were so mutual and their association so intense that it is often difficult for experts to distinguish Braque's painting of 1910 through 1912 from those of Picasso (Braque pp). Braque's 1910 "Violin and Pitcher" is one of the best examples of his analytic cubism period, when all his work was characterized by muted greens, grays and browns, with fragmented objects seen from several viewpoints (Braque pp). "By rendering the areas between the objects in a tactile, material fashion, Braque succeeds in fusing objects and space into a spatial continuum composed of small, fluid, interpenetrating planes" (Braque pp). Braque's "Terrace of Hotel Mistral" is characterized in terms…… [Read More]

Works Cited:
Pablo Picasso; pp. http://www.abcgallery.com/P/picasso/picassobio.html#Cubism

Florman, Lisa. "Picasso: Style and Meaning." The Art Bulletin; 9/1/2004; pp.
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Picasso 1932 1935 The Renowned Art Essay

Words: 3028 Length: 10 Pages Document Type: Essay Paper #: 22612121



3. The paintings

In the light of the above discussion, the paintings that Picasso created with Marie-Therese Walter as his model during the period of their relationship must be understood and analysed against the background of two issues. The first, which has been briefly referred to, is the influence that relationships with women in Picasso's life had on his paintings. The second is that influence of other artistic styles and ideas.

Picasso could not escape the influence of the Surrealistic movement which emphasized the play of imagination and the distortion of the real. Another influence was the " rivalry" with Matisse. During the 1930's there was a change in Picasso's style form his neoclassical period. As referred to previously, the painting The Three Dancers was indicative of this change in mood and style. Alfred Barr calls this painting"... 'a turning point in Picasso's art almost as radical as the proto-cubist Demoiselles d'Avignon'. Following this he became concerned with the mythological image of the Minotaur and images of the Dying Horse and the Weeping Woman. The period culminated in his most famous work, Guernica..." (Chilvers 476)

Surrealism is also an important element in understanding the paintings of this period. Picasso uses surrealist ideas and methods and applied them to his own unique style. In order to understand the paintings one has to view the shift in tone and style in Picasso's works toward the influence of surrealism. This can be seen for example in the 1933 painting entitled "An Anatomy." The painting depicts a series of drawings which are a combination of organic and non-organic components.

The above aspects can be applied to a large extent to the paintings of Marie-Therese Walter during this period. In the 1932 portrait entitled "Woman with a Flower" surrealistic elements can be seen in the distortion of features and the sense of the importance of the imagination over representation in this painting.

Picasso wrote at the time, "I keep doing my best not to lose sight of nature. I want to aim at similarity, a profound similarity which is…… [Read More]

Sources:
http://www.questia.com/PM.qst?a=o&d=99009989

Boeck, Wilhelm, and Jaime Sabartes. Picasso. New York: Harry N. Abrams, 1955. Questia. 3 Aug. 2006 http://www.questia.com/PM.qst?a=o&d=99009991. http://www.questia.com/PM.qst?a=o&d=74370572
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Picasso Matisse Modernism And Confrontation Essay

Words: 629 Length: 2 Pages Document Type: Essay Paper #: 17835243

We can appreciate the emotional sentiment of the Picasso work, which only superficial research reveals was inspired by a brothel in Barcelona. To an extent, Picasso offers us a dark perspective on either the subject or, as one might suggest based on the confrontational stance of the painting's subjects, the experience of visiting these women. Indeed, as these women look out from the canvas, presenting themselves with stoic expressionless faces, they invoke a sense for the viewer as being one in the brothel presented with a set of distinct but equally repugnant choices.

The Matisse painting, by sharp contrast, is deeply inviting but never directly confronts the viewer. The entire scene is framed by a canopy of trees that suggests the viewer to be peering into a clearing from a distance. The voyeuristic sentiment is only further reinforced by the tendency of those who appear to be facing forward not to engage the viewer directly. A woman who is shown sunning herself toward the viewer, shows no sense of awareness that she is being seen, or at least establishes no connection with the viewer's gaze. Two figures to the left also appear to be facing forward, but their features are absent, suggesting the Matisse intended to impose some shadowy distance on these figures. This reinforces the sense that we are on the outside looking in. Naturally, we may draw any number of emotional abstractions from the idea that we have been excluded from a subject called the Joy of Life and yet invited into so disturbing a subject as Les Demoiselles D'Avignon.

Most essentially, we can see that the radical departures which were occurring during this period of modernist sentiment would allow not just for a growing number of expressive forms, but would also promote an expanding palette for the conveyance of…… [Read More]

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Picassos Psyche As Seen Through Essay

Words: 1854 Length: 6 Pages Document Type: Essay Paper #: 28928856

The objectification of the female form in The
Studio illustrates how as a mode of this period his increasing openness to
more traditional curvature and anatomy would merge with cubism to produce
an utterly unique but decipherable perspective on human sexuality.
Accordingly, "these appearances in works such as Woman in an Armchair
and its related studies are mere snippets of anatomy within a Cubist
framework, yet they signal Picasso's uneasiness with Cubism." (Fitzgerald,
49) The uneasiness would not eliminate its presence but show cubism in the
light of surrealist themes. Its garish and unsettling proportions become
ultimately more organic and shocking in this way. To Picasso, this was not
a goal, but an acceptable end to art conducted appropriately. So he would
indicate "when, one day, someone said apropos of nothing in particular that
there can be no sense of shame in art, he answered that painting could
paint anything, provided that it was really painting. 'Only when painting
isn't really painting can there be an affront to modesty,' said he."
(Picasso & Ashton, 15)
One must imagine that in this respect, Picasso admonished the need
for honesty in process and presentation. Certainly, it was neither form
nor the philosophical abstention from form which governed this ideology.
Instead, Picasso allowed himself to evolve in both form and the
confrontation of his subject matter as a way of invoking greater insight
into the artistic process and the merits of its outcome. In The Studio, we
find the artist reaching the relative heights of his internal exploration,
revealing a soul and psyche wiling to engage itself with frankness and yet
preoccupied with something akin to psychic demons. Though he would never
fully exorcise these from a personal life of unsettled romantic and sexual
affairs, such works would appear to function as an outlet for an
unflinching self awareness.
Works… [Read More]

Bibliography:
Fitzgerald, M.C. (1996). Making Modernism. University of California
Press.

Flint, L. (2007). Pablo Picasso. Guggenheim Museum. Online at
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Picasso Cubism Culture Picasso Cubism Essay

Words: 2158 Length: 7 Pages Document Type: Essay Paper #: 14134223

The author sees these unseen texts as significant and a possible indication of the artist's private views and influences.

What is clear is that this book differs in approach to cubism from the work by Karmel. Staller has amassed a wide range of information and contextual data, which includes many aspects of culture that could be seen as an inspiration and an impetus towards cubism. Karmel on the other hand has a very different perspective on the origins of cubism. In this work we encounter the artist not as impulsive and absorbed in social and cultural influences but rather as someone who is separate and objective and who searches consciously for balance and integration in the formation and creation of his work. Essentially, what Staller suggests is the Picasso was more immersed in his social and cultural context and that cubism emerges as a result of subconscious and innate motivations and drives, compared to the more objective and rational approach in the work by Karmel. I would tend to agree with the view put forward by Staller. This perspective seems to be more appropriate in terms of the process of art and particularly with regard to the way that cubism made use of diverse sources and influences.

3. Summation and conclusion

Both these works provide important contributions to the understanding of cubism. However, as has already been suggested, while these works are insightful they sometimes fail to address a number of salient factors and issues. On the one hand Karmel presents a view of Picasso and cubism that emphasizes a very consistent, unambiguous and objective view. On the other hand the work by Staller is much more discursive and provides little in terms of theoretical and formal analysis. Possibly the best approach to cubism lies in a combination of these two perspectives or views.

Reading these two studies has led me to draw some of my own conclusions about cubism. The most important…… [Read More]

References:
Karmel, Pepe. Picasso and the Invention of Cubism. China: Yale University

Press, 2003.