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Les Demoiselles d'Avignon

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Saved by 1 people (-1 private), first by anonymouse user on 2007-10-11


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igurative composition of five nudes grouped around a still life in the foreground.

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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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forms are dislocated, inconsistent in style, in fact unfinished

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verthrowing perspective, single viewpoint, integral form, local colour, decorative colour

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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

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Destroyed were spatial depth and the ideal form of the female nude

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harsh, angular planes

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flat,

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shaded in

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three dimensional

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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

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no distinctions of light and darkness

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general impression of disorientation in space.

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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.

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The motif of five female nudes grouped around a still life, remains indebted to classical convention

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intensity of the partially decomposed figures contrasts strangely with a serene little still life in the foreground

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Cezanne's

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outlines of landscapes and bodies can be broken up and that the hidden, intuitive facets of perspective objects can be shown.

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large figures are angular

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ancient Iberian sculpture

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corner figures with their large, firmly contoured planes herald an entirely new approach.

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Negro sculpture

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part from traditional anatomical human physical structure

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Impressionist painting is now extreme and the surface alive with a heated exchange of angular lines, curves, and disjointed planes.

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soft tans and olive tones, remarkably cool and serene.

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largely buff, their anatomy indicated by jagged white or black contours, but one takes on the cinnamon tone of the background at the left

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harsh blue

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surrounds the figure at the upper right

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middle figures' warmly monochrome bodies are reminiscent of Picasso;s Rose Period

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Contrasts

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minimum

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not to compete with the design

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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.

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wanted to destroy the whole of Western art since the early Renaissance.

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proportions

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the proportions

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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.

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nly the >

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