Paintings of Picasso during the Modernism - Essay Example

PAINTINGS OF PICASSO DURING THE MODERNISM al Affiliation PAINTINGS OF PICASSO DURING THE MODERNISM Dominant to the principles of modernism paintings was the idea that art was in a way timeless; the modernistic painting was meant to surpass the societal social setting of its production through its features characteristically, which were perceived to possess a complete value. The nineteenth-century art has been criticized for its obsession with material component over the immaterial values of the art. These in a sense meant the art works of the nineteenth century lacked crucial emotional component in its composition (Roe, 2015). As a result art paintings that emphasizes material content and the social perception is perceivable as incomplete compared to art paintings in which the content is down played, and formal elements emphasized (Weiss, Fletcher & Tuma, 2003). The principles of modernism period are clearly visible in the works of Pablo Picasso, who perhaps can be considered as the most illustrious modern painter; conversely, the difference that exists between content and form is not one-sided or simplistic. Considerably, Pablo Picassos paintings were not absolutely abstract; in most instances the paintings contained references, though unclear, to the material art world (Weiss, Fletcher & Tuma, 2003). Furthermore, while Pablos paintings were characteristically concerned with the Cubism and universality, it helped shape and model abstract art. Social elements that were of interest then were incorporated in most of his works. Incorporation of social elements in his works further complicated Picasso’s stature as a modernist artist. Consequently, though Picassos art paintings encompass modernistic elements they are considerable as more complex in a modernistic sense because of all the elements incorporated in them. In the early 1900s, Picasso instigated his first unique style, which is referred to as the Picasso’s blue period. He restricted the color scheme he employed to blue, Picasso illustrated withered and solitude body forms whose figures and appearance signified the inferiority attached to their social status (Roe, 2015). In his painting of the Old Guitarist, Picasso highlighted the social status of the guitarist as a social outcast, which he emphasized through enclosing the guitarist figure using a black outline as if to alienate him from the society (Weiss, Fletcher & Tuma, 2003). The objective style of specificity insinuates that Picasso projected a general statement addressing social alienation as opposed to a particular political statement concerning the lower social strata in his surroundings. The reason for the dominance of a blue color scheme in his paintings during the period remains unclear. Probable artifacts that might have inspired him include photographs bearing a bluish shade prevalent at the time, paintings of fellow artists with single color schemes, poetry that stressed blue in its imagery. Additionally, Picasso’s preference for blue might have been influenced by blue’s association with pessimism (museepicassoparis.fr 2015). In 1904, Picasso shifted his style, initiating the period of the rose, which is also known as the circus period. Though Picasso still concentrated on social issues to inspire his works, his color scheme faded featuring more reddish, warmer hues, and the emphasized blue outlines of the previous period disappeared. Picasso retained his interest on the subject of alienation despite of his shift regarding color choice. In his painting of the ‘Two Acrobats and a Dog,’ he depicted a barren landscape and two young acrobats. The acrobats appear to be physically close, but they stare in opposing directions and are not interacting (Roe, 2015). The differences in the heights of the acrobats’ figures are exaggerated to stress the disconnection that exists between them and from the bare landscape. The 1905 period, which is referred to as the classical period marked rapid style changes and experimentation. The composition of his paintings in the late 1905 appear to depict an emotional detachment as compared to those of the rose period and blue period (Weiss, Fletcher & Tuma, 2003). The choices of the color scheme during the classical period in his paintings were light beiges and light browns shades. The use of brown color scheme in a way ushered in the African period as the shade darkened. Picassos obsession for experimentation and for seeking inspiration from sources that were considered not to be artistic led to the creation of his most revolutionary and radical painting in 1907, Les Demoiselles dAvignon. The theme of the painting, the female nudity-inspired a more traditional approach. Picasso further explored the human anatomy with his 1906 Self-Portrait. The human forms in his paintings during this times look flat like they have no muscular structure or skeletal. Faces on the paintings have noses in profile (The Picasso Project, 2002). The eyes are radically simplified and asymmetrical with incomplete contour lines. The use of color shifts to more contrasting schemes that are strident and unharmonious. Picasso represents space in fragmented and discontinuous style. Les Demoiselles dAvignon with its discontinuous planes, flattened figure forms, and inspiration drawn from African masks symbolizes the inception of the new visual style, known as cubism. French painter Cezanne acted as a catalyst for Picasso’s change in style (Siegel, 2009). Cezannes paintings of the early 1900s are characterized by both flattening and simplification of form that is visible in the interpenetration of physical objects by others. After the First World War, pressure from conservatism ideologies influenced a number of art forms. A notion popular as the restoration of order in art. For Picasso, the years the 1920s (Classical Period) was marked by a close focus on three-dimensional form and classical themes which included mythical creatures half-horse, and half man and women depicted in classical drapery silhouettes (The Picasso Project, 2002). He represented these figure forms as dense and massive, an effect exaggerated by his use of strong contrasts of light and dark hues of color. But as he shifted towards realism, Picasso’s employed an illusionistic style in his composition. In the carefully composed The Pipes of Pan, he painted a part of the architectural structure in the foreground using the same color as the hue he used to paint the sea in the background, emphasizing his interest in obscurity. The 1930-1950 period is referred to as the Cubism and Surrealism. During this period, Picasso worked on numerous techniques in a bid create a new style. Picasso composed paintings of compactly structured symmetries, limiting his exploration colors to primary color scheme (red, blue, yellow). In other compositions, for instance, Nude in an Armchair, Picasso depicted distorted female forms with open mouths and ominous fangs to reveal an emotional projection with less expressive attitude (Siegel, 2009). Some of the feminine paintings of this time were inspired by the falling apart of his marriage. Though Pablo Picasso is considered within the modernist cluster in numerous ways, his painting compositions come into contention with this classification (Siegel, 2009). Most of his compositions must essentially be examined with regards to their content and not solely on the material form. Consideration of his works solely on form material flouts the aesthetical principles that were considered ideal by the modernists. Therefore, Picassos position as a modernist is not clearly consistent with modernist ways but incorporates exceptional techniques and styles that make his paintings special modernist pieces. Reference Picassos paintings, watercolors, drawings and sculpture: A comprehensive illustrated catalogue, 1960-1963: The Picasso Project. (2002). Choice Reviews Online Roe, S. (2015). In Montmartre: Picasso, Matisse and the Birth of Modernist Art. Siegel, E. (n.d.). Conversations with Picasso (review).(2009) Modernism/Modernity, 351-352. VIE DE PABLO PICASSO (www.museepicassoparis) Modernist Art Facts. (2015, August 20). Retrieved October 30, 2015. http://www.museepicassoparis.fr/vie-de-pablo-picasso-2/#1915-1924 : la guerre et l’après-guerre, Ballets russes et classicism Weiss, J. S., Fletcher, V. J., Tuma, K. A., National Gallery of Art (Förenta staterna), & Nasher Sculpture Center. (2003). Picasso: The cubist portraits of Fernande Olivier. Washington: National Gallery of Art. Read More