Short answers - Book Report/Review Example

Short Answers Q Chave cites feminine critics and male artists in her historiography. Chave presents the reception theory in a way that explicitly distinguishes Picasso’s Les Demoiselles painting as the most plausible and exemption art in the 19th century. Chave aims at depicting excellent artistry in Picasso’s paintings.Q 2 The author means that the masks mimics African culture and social lifestyle. In addition, the masks symbolize disrespect for Africans and a form of appropriation that elucidates colonial power.

In addition, Picasso’s representation of masks represents an act of minstrelsy mainly due to the entertaining nature of the masks that remains likened to music and songs of black American origin.Q 3 The author reads demoiselles in African masks differently by comparing it to Picasso’s stocky body, and critic it positively as strong. Chave disputes the notion because she believes that the unmasked faces of the three figures on the left-hand side resemble glazed-over visages of hard-worn pros (Chave 599).

Q 4 Chave describes the prototypical male response as awful and fearsome of the depicted prostitutes. The bolsters the aforementioned argument through psychological basis that the prostitution began to fulfill male desires and accounting for unmitigated dearth of pleasure becomes difficult. The author also cites Freud’s theory in noting prevalence of men’s desire to depreciate women.Q 5 The author characterizes Benjamin’s observation as a reflection of the emergence of prostitution as a fundamental figure in urban modernity.

Chave explicitly remarks Benjamin’s argument that prostitution have contributed to superficiality or growing coldness of social relations besides decline in love within the economy.Q 6 Chave accounts for Picasso’s Les demoiselles less suit for public display through rationale that the artist left his work in a disjunctive state when he deployed visual idioms in rendering different physiognomic types. The disjunctive state caused debate among historians of whether his painting was finished.

Chave continues the train of thought about class and race by depicting Manet and Picasso’s prostitutes as working-class women mostly due to their coarseness and compact muscularity.Q 7 The author’s feminist methodology consisting of a masculine sexual presence and the inherent feminine body structure of the prostitutes assists in describing the cubist space based on gendered terms.Q 8 Chave explains flattening of pictorial space by presenting his arguments in relation to deep-seated and pervasive fears within the feminine body.

Q 9 Steinberg frames experience viewing Picasso’s painting almost luridly as an act of coitus. Bois explains production of a painting by examining at the prostitutes shattering gaze that rids viewers of desire to enter into the pictorial space. Chave concludes that not all pictures have capability of conforming to Bois’ interpretation.Q 10 Chave suggests that Picasso’s women are his declared enemies while peoples color remains as the undeclared enemies. Chave interprets the shallow space of cubist canvas as fear that spirals western society from the late 19th century to present.

Q 11 Colonialist discourse could interpret Picasso’s painting through Dark Continent that contains a submerged fear of falling out of the light and moral regression. Chave suggests that Picasso’s vision of the ‘other’ was to pioneer a new vision while Matisse’s vision contrives a safer pornotopia established in France.Q 12 Chave characterizes crouching figure in the lower right quadrant by differentiating viewers’ discretional expectation from Picasso’s intention. He characterizes the figure based on viewers understanding contrary to the actual painting, a technique that elaborates the crouching figure (Chave 608).

Q 13 Figures in African masks symbolize femme falales based on universal acceptance as cubism mothers and accordance of complicated and sinister roles to African American women in United States.Q 14 Influence of the French tradition represented by Braque and Cezanne accounts for cubism’s retreat from raw nudity and African elements.Q 15 Chave beliefs that viewers might read Les demoiselles almost as a giant cartoon and consequently agree with Felix accounts (Chave 610).Works CitedChave, Anne C.

"New encounters with Les Demoiselles dAvignon: Gender, race, and origins of Cubism." College Art Association (1994): 596-610. Print.