| Abstrakt: |
Influential Spanish artist Pablo Picasso utilized the concepts of minimum and maximum, and the contrast between these concepts within several aspects of the subjects he depicted. The painting of Les Demoiselles d' Avignon (1907) is analyzed as a dynamic scene of four prostitutes competing for a client, along with a madam, to construct an original Cubist geometric analysis and representation of female form that transforms naturalistic depiction. Cubism geometrically analyzes and represents anatomy utilizing the triangle, curve, cone, circle, rectangle, square, cylindrical, and trapezoid forms involving simultaneous multiple planes and various perspectives. Les Demoiselles d' Avignon is analyzed as a dynamic progression from the most naturalistic analysis and representation of female form to a Cubist content-principled conceptual representation (Erdynast & Chen, 2014). Picasso surpasses other artists by finding a minimum or a maximum beyond what other artists had achieved, e.g., an extended elbow, or a dropped arm. Using his own remarks that are rarely utilized in other analyses of his paintings, Picasso's own agency is used to account for his objectives and to deny what he did not do. Within this paper additional works of Picasso are analyzed: The Bull Series (1945-6), Woman Ironing, (1904), Bust of a Young Woman, (1937), Weeping Woman, (1937), Massacre in Korea (1954), Final Self-Portrait Facing Death, (1972). The subjects that Picasso analyzed and represented sometimes substantially differs from the titles he gave his paintings. An analysis of the Bull Series (1945-46) by Stella Adler, a renowned acting teacher and acting coach, illustrates a formal level understanding of Picasso's very complex art (Erdynast & Chen, 2014). [ABSTRACT FROM AUTHOR] |
