Les Demoiselles d'Avignon - The Diigo Meta page

• 11 Oct 07
  

  chawjh
  • nly the
    >
  • nly the
    proportions, but the organic integrity and continuity of the human body are denied here,
    so that the canvas “resembles a field of broken glass.
  • 36 more annotations...
  • • the
      proportions
    • proportions
    • wanted to destroy the whole of Western art since the early Renaissance.
    • the nudes
      that frame the composition already demonstrate the decisive change of direction in Picasso's art
      that was to be of such seminal importance to Cubism.
    • not to compete with the
      design
    • minimum
    • Contrasts
    • middle figures' warmly monochrome bodies are reminiscent of Picasso;s Rose Period
    • largely buff,
      their anatomy indicated by jagged white or black contours, but one takes on the cinnamon
      tone of the background at the left
    • Negro sculpture
    • corner figures with their large, firmly contoured
      planes herald an entirely new approach.
    • outlines of landscapes and bodies can
      be broken up and that the hidden, intuitive facets of perspective objects can be shown.
    • Cezanne's
    • surrounds
      the figure at the upper right
    • harsh blue
    • soft tans and olive tones, remarkably cool and serene.
    • Impressionist painting is now
      extreme and the surface alive with a heated exchange of angular lines, curves, and
      disjointed planes.
    • The motif of five female nudes grouped around a still life, remains indebted to classical
      convention
    • part from traditional anatomical human physical
      structure
    • ancient Iberian sculpture
    • no distinctions of light
      and darkness
    • large figures are angular
    • Each individual figure is united by a general geometrical principle which superimposes its
      own laws on to the natural proportions, and they merge almost completely with the
      background, which is full of similar rugged cleavages
    • three dimensional
    • flat,
    • harsh, angular
      planes
    • Destroyed were spatial
      depth and the ideal form of the female nude
    • intensity of the partially decomposed figures contrasts strangely with a serene little
      still life in the foreground
    • The figures and the background seem to form a relief that for goes all pursuit of spatial
      depth and retains the close relationship to the pictorial surface
    • The definite solid outlining, sometimes with tonal contrast, is both thick and heavy, created
      the flat space. Only lines suggest forms, not by tonal effect. Picasso is not interested in
      describing tone, depth, or form.
    • general impression of
      disorientation in space.
    • igurative composition of five nudes grouped around a still life in
      the foreground.
    • shaded in
    • verthrowing perspective, single viewpoint,
      integral form, local colour, decorative colour
    • forms are dislocated, inconsistent in style, in fact
      unfinished
    • three on the left are angular distortions of Classical figures, while
      the violently dislocated features and bodies of the other two have all the barbaric qualities
      of primitive art

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