"Pablo Picasso Essays"

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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…… [Read More]


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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Picasso's 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]

Works Cited:
Fitzgerald, M.C. (1996). Making Modernism. University of California

Flint, L. (2007). Pablo Picasso. Guggenheim Museum. Online at
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Picasso The Image of Modern Man Picasso Essay

Words: 1523 Length: 5 Pages Document Type: Essay Paper #: 74434811

Picasso: The Image of Modern Man

Picasso came to Paris from Malaga, Spain, a town known for its bull-fighters. Picasso in his less experimental days he depicted these bull fights in a number of pencil sketches that captured the flare, dynamism and thrill of the arena. However, he never content to simply reflect in a realistic way the world around him. Society was changing the very first years of the 20th century: the modern world had lived through the Reformation, the Revolution and Industrialization. Now it was becoming a world where new socialistic and atheistic ideologies were competing with old world beliefs still being clung to by certain leaders (like Franco in Spain, for instance). Picasso saw the importance of fashion and trends in this new age of modern art. In the first years of the 20th century, he painted in blues -- then in pinks (the Rose Period) -- then in cubes (starting with Georges Braque the movement known as Cubism). Gertrude Stein became his patron and in 1907 he painted Les Demoiselles d'Avignon, "usually regarded as his most important painting" (Johnson 658). Thirty years later he painted Guernica for the Communist-supported Republicans in Spain. This paper will analyze these two works, examining their differences as well as the social/political statements that underlie each one.

Picasso's World

Picasso came to maturity at a time when the world was, in a sense, rejecting maturity. The old world principles of art, morality, philosophy and government that had brought Europe through the middle ages had been swept away by a series of revolutions all across Europe. The revolution was young and new. In France, it had promoted liberty, equality and fraternity. Rousseau promoted self-fulfillment without restraint. Picasso came from Spain, which under Franco would try to retain its Catholic roots (and would be labeled Fascist for doing so). Picasso, like the Communists, whom…… [Read More]

Greenberg, C. "Avant-Garde and Kitsch." Partisan Review, Vol. 6, No. 5 (1939): 34-

49. Print.
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Les Demoiselles D'avignon by Picasso Essay

Words: 945 Length: 3 Pages Document Type: Essay Paper #: 3944891

Figures are created mostly by the contrast of colors. The use of drawing line is almost nonexistent, however the contours being very clearly defined. The colors contradict each other alternating bright cold shades of blue with warm ochre and pink. The vibration created by blue and white together brings cold atmosphere to the entire palette.

The structure breaks the laws of perspective. On the left side the composition brings a succession of straight figures, with tense rhythm. On the right the arrangement spreads, with characters in open position that draw attention to their caricature masks.

The figures are set in the world of unrealistic: there are no lights or shadows to display their volume. The bodies and background are flat and seem to melt with each other. There is no diversity of levels or third dimension suggested. The blue tones, contoured by white, accentuate the flatness of the piece.

The use of logic in the drawing is annulated by the way the figures contradict their own position: the portraits show front eyes, but profile noses. Perspective became an element used with complete freedom, without respecting the classical rules of logic. The artists uses different perspectives on the same figure.

The use of colors is also free from reality rules. The ochre of the bodies refers to earth color and has a violent contrast with the light blue of the background. The contours are reduced to basic configurations, "V" shapes in the arms and legs of the women. Sharp edges on knees, elbows and breasts contradict the classical vision of female nudes as curvy figures. Straight lines and sharp edges also configure the background images. Space is no longer the common factor that will harmonize the elements of the painting, but an independent component, real and concrete, that can be deformed and decomposed like all the figures.

The two figures in the centre of the composition stand up in a forced body posture, as if they were lying down, but vertical. The sitting figure, the last one painted, breaks all the rules of the lineal and thirdimensional perspective. It presents a posture that would be anatomically impossible and perhaps was a first step toward a surreal representation of reality. Her face and her back are visible from the same point-of-view. It is an…… [Read More]

Penrose, Roland. Picasso, his life and work. Los Angeles: University of California Press, 1981.
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Artworks a Comparison of Picasso Essay

Words: 717 Length: 3 Pages Document Type: Essay Paper #: 4364976

Like Picasso, Van Gogh (though with an old world soul) would find fullest expression once landing in Paris. After a year of being in the company of other Impressionists like Paul Signac -- and being in a city that itself so filled with history, Catholicity, and romance -- Van Gogh's soul brightened from its gloomier days in search of a Protestant mission: his 1886 painted bulbs are the reflection of a spirit that has found something fresh and intense. The orange-red bulbs are off-set by the pointillist backdrop of blue. The copper vase brilliantly brings the whole work to life, reflecting a seemingly new light in Van Gogh's life and style. Here in Paris he was at home. One need not wonder at the new light that is reflected here: according to "the painter Emile Bernard…Vincent was courting "La Segatori," the Italian owner of the Tambourin cafe on the boulevard de Clichy, and used to give her paintings of flowers, "which would last forever" (Fritillaries, Musee d'Orsay, 2006).

Whether Van Gogh was painting Fritillaries for a love interest or for his own does not take away from the fact that Van Gogh's spirit was now alive with an intensity that was as bright and fervent as his religious soul had been a decade earlier. However, his heart was not content to stay in the city: thus he traveled to Arles to study and paint the scenes and images that had inspired early works like the Potato Eaters -- only now the same scenes and settings would be bright, alive, soulful -- and overwhelming.

In conclusion, both Picasso and Van Gogh found inspiration in Paris; but Picasso used that inspiration to depict a 20th culture that was becoming fragmented and divorced from its old world spirit. Van Gogh, on the other hand, embraced the old world spirit, and left Paris to paint the bright world that was full of grace and life. Van Gogh's lines represented a wholeness that Picasso rarely represented: for Picasso, the world was broken up and shattered.

Works… [Read More]

Fritillaries. Musee d'Orsay. 2006. Web. 26 July 2012.

Greenberg, C. "Avant-Garde and Kitsch." Partisan Review. 6.5, 1939: 34-49. Print.
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Art Along With Georges Braque Fernand Leger Essay

Words: 942 Length: 3 Pages Document Type: Essay Paper #: 69465412


Along with Georges Braque, Fernand Leger and Pablo Picasso were firmly at the forefront of the cubist movement in modern art. Cubism sprouted from Picasso's experimentations with collage, along with Braque, but later morphed into an interpretive and expressive style of painting that heralded many related movements in abstract modern art including futurism. As Fitz puts it, Picasso used the cubist style to express the things he could not see, but which he knew were there; the things that everybody is "certain of seeing," but which are not depicted on a traditional canvas (228). As a result, Picasso reinvented painting, and reinterpreted what the function of painting was. Leger deserves credit also, for he too pursued the " quest for a means by which to accurately describe three-dimensional objects on a two-dimensional canvas," (Spector). Leger and Picasso developed totally unique and distinct brands of cubism, even if their formative influences were similar. For example, Spector notes that both Picasso and Leger built on the work of Paul Cezanne, who began to deconstruct shapes and forms for more probing insights into how objects can be represented on a two-dimensional plane. Paintings like Picasso's 1908 and 1910 versions of Femme a la mandolin and Leger's 1912 Le modele nu dans l'atelier reveal the similarities and the differences, the convergences and divergences, between the styles and techniques of these two cubists.

Comparing these paintings directly, it is apparent that Picasso and Leger used differing degrees of abstraction. Picasso's 1908 Femme a la mandolin is clearly cubist, but it is far from being a fully abstract work of art. Likewise, the 1910 version of the woman with a mandolin is still representational, even if it is creeping towards eventual abstraction. The paintings depict a woman playing a mandolin quite clearly. Although Picasso chooses to depict the woman without facial features, and the mandolin without strings, both subjects are clearly discernable. There is also part of a piano keyboard in the background of the 1908 version, contributing to the overall composition. Picasso did include more purely abstract paintings in his portfolio, but Femme a la mandolin is not one of them.

Leger's 1912 Le modele nu dans l'atelier, on the other…… [Read More]

Dickerman, Leah. Inventing Abstraction. New York: The Museum of Modern Art, 2013.

Fitz, L.T. "Gertrude Stein and Picasso: The Language of Surfaces." American Literature. Vol. 45, No. 2. May 1973.