'Comparative Analysis of “Les Demoiselles d’Avignon” and “The Dance” Essay\r'

'The Les Demoiselles d’Avignon (1907, M occasionum of Modern Art, new-fangled York), is an crude on kittyvas mental picture by Pablo Picasso. This is an image of cardinal nudes class around a still life. Of the five put downs, qugraphicsette of the figures be facing the sweetheart. there is a disjunction in the ordinal figure as she is crouched on the floor, her prat away from the estimateer, spot her face, or mask, addresses the viewer. This vertically aligned pictorial matter measures 8’x7’8″ and was painted later on the Blue and locomote periods. The bound (First Version, 1909, Museum of Modern Art, New York), is an oil on canvas video by Henri Matisse. This is an image of five nude women get togethering weapons in an oval. This horizontally aligned moving picture measures 8’6″x12’9″. This scene lacks detail and complexity. The artist has employ four colour throughout the painting. These colors ar kibib yte, pink, black and blue.\r\nPicasso painted Les Demoiselles d’Avignon after a notorious place of prostitution. The viewer is both attracted to the advances of the demoiselles, yet at the equal time, recoiled with the horror of these prostitutes. This art belongs to a stylus of art k right awayn as Cubism. The savage, untamed heads of the figures argon the direct result of Picasso’s recent exposure Iberian art from the sub-Saharan, Western African region. The emphasis on abstraction, flatness and angularity prevalent in the painting ar attributes of Iberian art. by means of this painting Picasso has lost the interest of naturalistic curves of the anatomy and has chosen to create planes. The figures wait flat, devil-dimensional and weightless. We can divide the painting into portions, i.e., the iii-fifths on the left over(p)over and the two-fifths on the respec submit.\r\nThe left lead portion relates to the colors of the go period, while the shift in col ors towards blue on the proper(a) is evocative of the Blue period. The primary difference amidst the left and the right sides however lies in the heads of the two figures. The figures on the right are missing ears, their mouths are oval, their chins pointed and their nose queerly shaped. The ears, eyes, nose and mouth seem to be disjuncted and maybe even dislocated for these two figures. Their shapes when compared to those of the left are grotesque. The excessive use of shadowing adds to the exaggeration of the African-like faces. Another manikin of disjunction inwardly the painting is the right leg of the women in the far left seems to morph in a block.\r\nIn the spring the viewer is no long-acting addressed by the gazes of the women. in that respect is no audience-artwork participation. The women are no long implicated with the audience. The leaping seems to originate with the figure in the set off, following a clockwise rotation. The painting flips soft linear cont ours that is pleasing to the viewing audience eyes. there is a disjunction which appears when the women in the foreground is unable to wait the hand of the figure to her left. This is where the tension arises.\r\nThis break in unity shows that the circle is not complete. It shows the that the dance cannot continue eternally. The fact that one link in the chain is missing causes an perturb. This unbalance is captured in the figure to the right of the figure in the foreground. It seems that since the figure in the foreground hastens her movement in order to clasp her hand with the figure on the left. This choppy movement throws the figure on her right off balance. The five figures in the trip the light fantastic are portrayed as caricatures quite than as real women.\r\nLes Demoiselles d’Avignon is radically different in style to either of the paintings we read examined up till now in class. The simplicity of the painting may suggest that it was intended to be a rudime ntary experiment in form. It is approximately as if the painting is layered with dispirited glass, and the viewer is expected to view this new, depraved image. In the painting, spatial depth and conformity are destroyed. The space in which figures take over almost seems sculpted rather than painted. By observing the women on the far right, amongst the curtain, we notice how planar her body authentically is. Through the painting Picasso has tenseed the beau ideal form of the female nude, which he has sup point into harsh, angular shapes.\r\nWithin the painting are several sexual references. The pointed edge of the table in the foreground can be seen as a playactation of penetration. From the situation of the second women from the left we can view her as either standing up or lying down. Though in the painting, the figure is painted standing vertically, the sit around indicates that the position is more suited for a horizontal position as though she was on a bed. This dua l pose can be aim perhaps as the rhythmical oscillation of a sexual act. The watermelon placed at the edge of the table can be considered a phallic symbol. The way the watermelon slice extends beyond the table and towards the women can also be seen as some other reference to penetration. Picasso has approached the theme of eroticism in a less conventional manner.\r\nIn the leaping the viewer is no longer involved in the painting. One cannot read the painting on a higher(prenominal) level. Unlike Picasso’s Les Demoiselles d’Avignon. There are no phallic symbolism. There is no eroticism expressed within this painting. It is the simplicity of the painting the audience appreciates. Matisse has at rest(p) back to the very fundamentals; creating a painting of minimum detail and a very simple background. He has used blue in the background to represent the sky while using green to represent the grass. I am not suggesting that his painting was too simple to be considered a masterpiece. The simplicity is the spectator of it.\r\n two the paintings consist of five nude women, whose identities are unknown. Each artist has painted the basal forms of women, leaving out genitalia to expatiate that they were concerned with only the forms of the figures. Both paintings offer an aura of high vitality. The energy derived from the Dance is a result of the urgency the dancers have in forming the perfect circle and their unfitness to do so. In Les Demoiselles d’Avignon the energy originates from the savage power these women possess. The fear ancestry from barbaric intensity of these two figures on the right dispel the alluring qualities the three figures on the left portray. In the Dance the artist has created the painting out of contours while in Les Demoiselles d’Avignon, Picasso has firmly specify planes with minimum of contours.\r\nLes Demoiselles d’Avignon illustrates Picasso’s intense fear of women, his need to dominate and distort them. Even today when we are confronted with this painting, it is great(p) to restrain a momentary fear. The Dance captures the beauty of women and dance through the handed-down beauties of art. Picasso no longer considers the themes of traditional beauty of art nor the realistic portrayal of his subject. The Les Demoiselles d’Avignon stands as a cruel representation to the delight of the senses that Matisse’s the Dance exalts.\r\n'