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....
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
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
Picasso and Braque Picasso Pablo Picasso is often revered as the creative genius who initiated many of the trends, styles and movements in Twentieth Century art. His name is associated with experimentation and innovation in modern art which took painting and sculpture in new and exciting directions. It should also be borne in mind that Picasso was one of many artists during the early and middle Twentieth Century who worked to produce new
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
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
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
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