“Les demoiselles d’Avignon” (2011) by Ukrainian artist Arsen Savadov (*1962).

"The Young Ladies of Avignon," also known as "Les Demoiselles d'Avignon," is a groundbreaking painting by Pablo Picasso, completed in 1907. It's considered a seminal work in the development of Cubism and modern art.

The painting depicts five nude female figures in a brothel or a brothel-like setting. The women's bodies are angular and fragmented, showcasing a departure from traditional forms and perspective. Picasso challenged conventional notions of beauty, representation, and space by portraying the women with distorted and abstracted features.

The influence of African and Iberian art is evident in the stylized faces and masks worn by some figures. The painting's composition and the way it fractures space paved the way for Cubism, an art movement co-founded by Picasso and Georges Braque.

"Les Demoiselles d'Avignon" remains a significant and controversial piece, celebrated for its innovation and its impact on the trajectory of modern art.

Modernism in art was a period of great experimentation, innovation and creative freedom, challenging convention and shaping the artistic landscape of the 20th century.

#edisonmariotti

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"As Moças de Avignon", também conhecida como "Les Demoiselles d'Avignon", é uma pintura inovadora de Pablo Picasso, concluída em 1907. É considerada uma obra seminal no desenvolvimento do cubismo e da arte moderna.

A pintura retrata cinco figuras femininas nuas em um bordel ou ambiente semelhante a um bordel. Os corpos das mulheres são angulares e fragmentados, apresentando um afastamento das formas e perspectivas tradicionais. Picasso desafiou as noções convencionais de beleza, representação e espaço ao retratar as mulheres com características distorcidas e abstratas.

A influência da arte africana e ibérica é evidente nos rostos estilizados e nas máscaras usadas por algumas figuras. A composição da pintura e a forma como ela fratura o espaço abriram caminho para o cubismo, um movimento artístico co-fundado por Picasso e Georges Braque.

"Les Demoiselles d'Avignon" continua a ser uma peça significativa e controversa, celebrada pela sua inovação e pelo seu impacto na trajetória da arte moderna.

O modernismo na arte foi um período de grande experimentação, inovação e liberdade criativa, desafiando as convenções e moldando a paisagem artística do século XX. @edisonblog

Georges Braque: Pionero del movimento cubista

Desde un modesto aprendiz de decorador en Le Hasure ' Hasta un pionero revolucionario del cubismo junto a Picasso, la vida de este artista estuvo llena de triunfos y tragedias.

Georges Braque nació el 13 de mayo de 1882 en Argenteuil, cerca de París, Francia, de padres Charles y Augustine. Su padre, que era un pintor aficionado y su abuelo antes que él, dirigía un negocio de decoración de casas, que es sin duda de donde surgió el interés de Braque por la textura y los efectos táctiles de la pintura. En 1890, la familia se mudó a Le Havre, donde Braque asistió a la escuela pública local y, a menudo, acompañaba a su padre en expediciones de pintura.

Inicio de una nueva era

Fue durante 1907 conoció a Pablo Picasso, quien lo invitó a visitar su estudio. Braque quedó profundamente afectado por la visita, especialmente cuando vio la obra innovadora de Picasso: Les Demoiselles d'Avignon.

Pronto quedó claro que había una afinidad inmediata entre los dos artistas y pronto siguió una amistad íntima y camaradería artística. Colaboraron estrechamente, intercambiando ideas casi a diario y comentando con frecuencia el trabajo de cada uno.

Es imposible decir cuál de los dos fue el principal inventor del nuevo estilo revolucionario de pintura que más tarde se conocería como cubismo.

Eso sí, el golpe liberador lo dio Picasso con las Damas de Avignon.

Pero, fue Braques quien, en gran parte por su admiración por Cezanne, aportó gran parte de la temprana tendencia hacia las formas geométricas. Entre ellos desarrollaron las ideas que impulsaron el desarrollo de este nuevo estilo artístico.

En mayo de 1908, Braque y Picasso expusieron por primera vez sus pinturas cubistas en el Salon des Indépendants de París.

Su trabajo recibió críticas mixtas de los críticos y algunos lo denunciaron porque desafiaron las formas convencionales de representación, como el uso de la perspectiva, que había sido la regla desde el arte renacentista.

Durante el verano de 1908, Braque realizó cerca de Marsella pinturas que mostraban su determinación para dividir las imágenes en partes diseccionadas.

Los volúmenes de losa, el colorido sobrio y la perspectiva distorsionada en sus pinturas de este período son típicos de la primera parte de lo que ahora se llama la fase Cubismo Analítico.

En otoño de ese mismo año, Braque mostró sus pinturas en la Galería Kahnweiler de París, lo que llevó al crítico de arte parisino Louis Vauxcelles a hacer su comentario sobre los "cubos" que darían este estilo de pintando su nombre.

Casas en L'Estaque, 1908 /// Botella y Pescados, 1908

Posteriormente, en 1912, el cubismo evolucionó hacia el "Cubismo Sintético". En esta etapa, Braque y otros artistas introdujeron elementos de collage en sus obras, incorporando materiales como papel, cartón y tela en sus pinturas.

Fue durante este año que Braque creó lo que generalmente se considera su primer collage de papel al unir tres piezas de papel tapiz al dibujo Fruit Dish and Glass.

El tema se volvió más central, más importante con menos énfasis en los planos contrastantes.

Braque también experimentó con la representación de instrumentos musicales, naturalezas muertas y paisajes en su obra. A lo largo de su carrera, su estilo evolucionó, y en la década de 1920, incorporó elementos más realistas y figurativos en sus pinturas, alejándose gradualmente del cubismo puro.

La contribución de Georges Braque al movimiento cubista es significativa, y su influencia perdura en la historia del arte. Su enfoque innovador y su colaboración con Picasso fueron fundamentales para el desarrollo y la difusión del cubismo en el panorama artístico del siglo XX.

je suis bizarre, chelou, étrange, mystérieuse, on me compare à Billie Elish . . .

mais je n'ai pas son talent, son charisme mais j'aime beaucoup son univers musical.

je ne suis pas une princesse ni LUCINA, ni Laulau. . . ni L

je suis Nébuleuse ou Lady Doll

imprévisible, dangereuse. . . le bouc émissaire

l'harcelée, l'hallucinée, la possédée. . .

Capricorne ascendant Bélier ou Taureau. je ne sais jamais, en astrologie chinoise je suis le serpent. . .

selon le petit prince, le boa a avalé un éléphant, ce n'est pas un chapeau. . . il faut faire preuve d'imagination.

je ne suis plus aussi perfectionniste. . .

ma chambre est en désordre, quand est-ce que je vais commencer à la ranger. . . j'ai la flemme. . . je préfère rester sur TUMBLR à raconter ma LIFE.

j'aimerais trop avoir les cheveux turquoise, des piercings et des tatouages. . . les cheveux longs. . . un coupe style emo. patience patience. . . j'ai déjà fait deux sidecuts.

on me dit que j'ai 17 ans, avec mon maquillage, mes tenues. . . mon allure. . . mon attitude.

j'ai 33 ans, 10 jours après le 1er janvier c'est mon anniversaire. . . 2024 le temps de la transition. . . de la mue, de la métamorphose. du château de brume. je veux m'élever, m'éveiller, me réveiller et me révéler. . .

je suis la demoiselle des points de suspensions

je n'aime pas les lettres en majuscules. . .

F*** la société. . . ce système, ce monde qui part en fumée, bientôt la troisième guerre mondiale. . . le chaos.

Non ! il ne faut pas parler de malheur. . .

j'ai envie de dépasser mes peurs, faire de l'accrobranche, sauter en parachute, faire du parapente, aller au LUNA PARK l'année prochaine au mois de février. . . à Avignon. et tenter de faire des attractions à fortes sensations, je veux un peu beaucoup d'adrénaline. . . ce serait cool d'établir ces activités et de les réaliser.

voilà. . .

Pablo Picasso

Pablo Picasso

Picasso Poster, The Old Guitarist - Picasso Print, Pablo Picasso 1904

Picasso Poster / Print The Old Gutarist 1903 - 1904 Got a special photo or image you want on a poster? Get a custom poster made ✨ CUSTOM POSTERS Here: https://www.etsy.com/listing/762252827/custom-posters-make-your-own-customized ✨ 10% Discount coupons, and special offers sign up here: https://wallartprints4u.aweb.page/etsy-wallartprint The Old Guitarist is an oil painting by Pablo Picasso, which he created in late 1903 and early 1904. It depicts an elderly musician, a blind, haggard man with threadbare clothing, who is weakly hunched over his guitar while playing in the streets of Barcelona, Spain. ✨ Pablo Picasso Quotes: "Computers are useless. They can only give you answers." "I paint objects as I think them not as I see them." "Good artists copy, great artists steal" POSTER & SHIPPING INFORMATION: This listing is for posters of various sizes, Medium 8 x 10, medium large 12 x 18, large 16 x 24, super 24 x 36 and giant 30 x 40 Choose your size :-). They are perfect for framing and are print quality. We also do many other posters, calendars, prints and wall art. Check out the listings in our shop. If what you want isn't there let us know and we'll do our best to accommodate you! We can do custom prints / posters / canvases / wall art. We also have other posters or Canvas prints of vintage masterpieces here: https://www.etsy.com/shop/WallArtPrints4uUSA?section_id=27221943 - Vintage Masterpieces Store Section https://www.etsy.com/listing/990727156/picasso-poster-les-demoiselles-davignon - Picasso Ladies of Avignon This is a uniquely restored enhanced image to get the most wonderful print possible. All images used have been retouched to remove any major imperfections and then enhanced for digital printing. The images are of the highest quality and mostly 300 dpi. The poster would look great on your wall, or as a present, also great for framing. ★ Size of poster is 8 x 10, 12 x 18, 16 x 24, 24 x 36 or 30 x 40. Please choose your size. ★ Beautiful prints, printed on state of the art printers ★ Shipped from the UK for UK customers. We have a distribution center in the UK, mainly using Royal Mail, FEDex or UPS ★ Shipped from the USA for USA customers. We have distribution centers in the USA too, mainly using FEDex, UPS or DHL ★ Shipped from the EU for EU customers. We have a distribution centers Germany, France and other EU states ★ Giant sized 30 x 40, super size poster 24 x 36, large 16 x 24, or medium 8 x 10 ★ Digitally enhanced and remastered images ★ Printed on high quality premium matte 170gsm finished paper. It comes carefully packed, rolled in a cardboard fitted tube for posters above 8 x 12 (A4) size, and flat sturdy cardboard packaging for anything below A4 size.

Pablo Picasso’s Life in Pictures: Women, Children, and Art

Upon his death in 1973, Picasso left behind more than 45,000 works of art and four children. See the prolific artist and his muses in and out of the studio. For more on Picasso and his heirs, read our magazine feature “The Battle for Picasso’s Multi-Billion-Dollar Empire.”

Picasso Etkinliği Kalıpları

Sanat Etkinlikleri yaparken sanatı ve sanatçıyı öğretmek de işimizin en keyifli noktalarından. Picasso farklı türde resimleri ve sanata katkılarıyla çocuklara ilham veriyor, yaratıcı yönlerinin ortaya çıkması sağlıyor. Yapılandırılmış etkinliklerden uzak olması etkinliği daha eğlenceli hale getiriyor. Picasso etkinliği ararken karşıma çıkan kalıpları yazdırırken resim kalitesinden dolayı sorun yaşayınca kolları sıvadım ve benzer şekilde kalıpları kendim […]

Pablo Picasso, ícono del siglo 20

La vida turbulenta, bohemia y fascinante del pintor español.

Pablo Picasso, Rape of the Sabine Women, 1963 5/12/18 #mfaboston #artmuseum

Explore Sharon Mollerus' 28028 photos on Flickr!

Pablo Picasso, Original, Painting on canvas, Drawing, Signed, COA, Cubist era | #1837621238

Picasso, the Photographer’s Gaze – Museu Picasso Barcelona

Synthetic cubism

By removing these men, the image is no longer self-contained. If men are present, the prostitutes attend to them. Why? Well, to begin, we might imagine where the women focused their attention in the original composition. What is important is that Picasso decides to remove the men. Could it be that Picasso was expressing the ways that he saw these women? As objects of desire, yes, but also, with a knowledge of anatomy probably superior to many doctors. He understands how their bodies are constructed, etc. While the sailor represents pure lust, the student sees the women from a more analytic perspective. He is not there to look after the women’s health but he does see them with different eyes. The fictive sailor has been at sea for months, he is an obvious reference to pure sexual desire. Or, more exactly, how Picasso viewed these women. The (male) artist’s gazeĮach of these male figures was meant to symbolize an aspect of Picasso. He wore a brown suit and carried a textbook, he was meant to be a medical student. Another man originally entered from the left. He sits in uniform in the center of the composition before a small table laden with fruit, a traditional symbol of sexuality. In some there are two men in addition to the women. These studies depict different configurations. It was preceded by nearly one hundred sketches. (18.5 x 20.3 cm) (irregular) (Museum of Modern Art, New York)īecause the canvas is roughly handled, it is often thought to be a spontaneous creation, conceived directly. Pablo Picasso, Study for Les Demoiselles D’Avignon, 1907, oil on canvas, 7.5 x 8 in. Years later Picasso would anonymously return them. By the way, Picasso purchased, from Apollinaire’s secretary, two archaic Iberian heads that she had stolen from the Louvre! Some have suggested that they were taken at Picasso’s request. Instead of going back to the sensual myths of ancient Greece, Picasso is drawing on the real thing and doing so directly. In fact, Picasso has recently seen an exhibition of archaic (an ancient pre-classical style) Iberian (from Iberia–the land mass that makes up Spain and Portugal) sculpture at the Louvre. Her head is shown in perfect profile with large almond shaped eyes and a flat abstracted face. Her right arm juts down while her left arm seems dislocated (this arm is actually a vestige of a male figure that Picasso eventually removed). One of several historical sources that Picasso pillaged is archaic art, demonstrated very clearly by the left-most figure of the painting, who stands stiffly on legs that look awkwardly locked at the knee. While that analogy might be a little coarse, it is fair to say that he had an enormous creative appetite. Indeed, Picasso has been likened to a “creative vacuum cleaner,” sucking up every new idea that he came across. In fact, a number of artists stopped inviting him to their studio because he would so freely and successfully incorporate their ideas into his own work, often more successfully than the original artist. Picasso draws on many other sources to construct Les Demoiselles D’Avignon. Compare the woman standing in the center of Picasso’s composition to the woman who stands with elbows raised at the extreme left of Matisse’s canvas: like a scholar citing a borrowed quotation, Picasso footnotes. But while Picasso clearly aims to “out do” Matisse, to take over as the most radical artist in Paris, he also acknowledges his debts. Matisse’s pleasure becomes Picasso’s apprehension. The bodies of Picasso’s women look dangerous as if they were formed of shards of broken glass. Picasso has replaced the graceful curves of Bonheur de Vivre with sharp, jagged, almost shattered forms. Gone too, is the sensuality that Matisse created. Instead, the artist chooses deeper tones befitting urban interior light. Picasso has also dispensed with Matisse’s clear, bright pigments. Here are five prostitutes from an actual brothel, located on a street named Avignon in the red-light district in Barcelona, the capital of Catalonia in northern Spain-a street, by the way, which Picasso had frequented. No longer set in a classical past, Picasso’s image is clearly of our time. Like Matisse’s later Blue Nude (itself a response to Les Demoiselles d’Avignon), the women fill the entire space and seem trapped within it. (Note, for example, the squatting figure at the lower right.) His space is interior, closed, and almost claustrophobic. In very sharp contrast, Picasso, intent of making a name for himself (rather like the young Manet and David), has radically compressed the space of his canvas and replaced sensual eroticism with a kind of aggressively crude pornography.

 Les demoiselles d’Avignon. #ImitaciónAlArte #Arte #Picasso

hey can u rant to us about Picasso?🥺

YES YES YES ok so basically this fucker was a HUGE misogynist! he saw prostitutes extremely frequently; he was sex addicted and literally could not stop fucking prostitutes. at the time, there was no cure for syphilis, so getting it meant a death sentence for a lot of people. picasso basically did his mental gymnastics this way: since he couldn’t stop fucking prostitutes, and since having sex with prostitutes put him at risk for contracting syphilis... it was the women’s fault that he could possibly die and they had all the power over him (despite the obvious power dynamic between a prostitute and a “client” that definitely doesn’t have the woman in power). he hated women openly; he despised them for the “power” that they held over him. this was reflected in his work; any time he depicted women, it was in a heavily dehumanized and even demonized form. for example, in Les Demoiselles de Avignon, the women are depicted as extremely angular and do not appear fully human, and as the viewer’s eye travels from left to right, the women become increasingly demonic— the two rightmost women are wearing african masks in order to look even less human, which is a whole other can of worms. the women are contorted into unrealistic poses, and as this painting is a part of picasso’s protocubism era, the figures of the women are abstract enough that the viewer doesn’t immediately realize that real people would be very uncomfortable in said poses— this is yet another way that picasso demonstrates his view of women as subhuman, as objects that are there only for his sexual gratification. picasso also had an enormous ego; in the early 1900s, when he was alive and famous, another famous painter was henri matisse. picasso hated it when matisse’s paintings gained fame; every time matisse painted something, picasso would immediately paint something in complete opposition to the concepts matisse had used. matisse leaned into using bright colors and contrast, so picasso leaned into a duller palette of beiges and nude pinks. honestly, picasso and matisse probably had some semblance of a friendship; there are letters they wrote to each other that demonstrate less of a rivalry than it appeared, but damn. overall i hate picasso and i’m glad he died. i also didn’t even talk about cubism because i really hate it (and i don’t know enough about picasso’s cubism era).

𝗟𝗲𝘀 𝗗𝗲𝗺𝗼𝗶𝘀𝗲𝗹𝗹𝗲𝘀 𝗱'𝗔𝘃𝗶𝗴𝗻𝗼𝗻 ~ 𝗣𝗮𝗯𝗹𝗼 𝗣𝗶𝗰𝗮𝘀𝘀𝗼

10 Facts You Might not Know about the Masterpiece

1. Picasso kept "Les Demoiselles d'Avignon" in his Montmartre, Paris studio for years after its completion in 1907, due to the mostly negative reactions of his immediate circle of friends and colleagues. The public was first able to view the painting at the Salon d'Antin in 1916, although a photo of the work appeared in The Architectural Record in 1910.

2. The art world did not begin to embrace the painting, Picasso's nascent Cubist work, until early in the 1920s, when Andre Breton republished the photo and the article entitled, "The Wild Men of Paris: Matisse, Picasso and Les Fauves."

3. Picasso prepared over six months for the final creation of "Les Demoiselles" by making hundreds of sketches, drawings and paintings. His preparatory work was perhaps more comprehensive than that of any other artist in history for a single artwork and certainly more intensive than for any other artwork he produced.

4. When colleague and competitor Henri Matisse saw Picasso's painting, he reacted violently. Matisse thought "Les Demoiselles" was a criticism of the modern art movement and felt that the painting stole the thunder from his own Blue Nude and Le Bonheur de Vivre. He called the figures in the painting hideous whores.

5. One reason "Les Demoiselles" is revolutionary is the artist's omission of perspective. There is no vanishing point, nowhere for the eye to move beyond the women and their pointed glances. 

6. By reducing his figures to a combination of geometric shapes, Picasso runs counter to centuries of artistic tradition in which the human form is deified, anatomically duplicated and/or romanticized.

  Les Demoiselles d'Avignon ~ 1907, oil on canvas, Cubism 

7. The masks in the painting reflect Picasso's obsession with primitive art, not only of African origin but also the art of ancient Iberia, or modern-day Spain and Portugal. The simple forms, angular planes and bold shapes used in primitive art were instrumental in the artist's restructuring of artistic conventions.

8. In an earlier sketch of "Les Demoiselles," the figure to the left was a male medical student, skull in hand, entering the brothel, but the artist decided that such a customer added an element of narrative that would detract from the overall impact of the scene.

9. Picasso was deeply impacted by Tahitian journals of Paul Gauguin and his 1906 art exhibition. Gaughin's sculpture of the Tahitian goddess Oviri inspired Picasso to try his hand at ceramics and woodcuts in 1906. Art historians attribute the strong element of primitivism in Gaughin's work as a significant influence on "Les Demoiselles d'Avignon." 10. In the title of the artwork, "Avignon" refers not to the city in Provence but to the name of a street in Barcelona in a district known for prostitution. 

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A new Concise Intro to be able to Trent Et Quarante, France

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List of 46 Pieces Pablo Picasso African Period Paintings

• A Driade Nude In The Forest • Head Of A Man, 1905 • Head Of A Man, 1908 • Repose • Head of a Sleeping Woman • Reclining Nude • Farm Woman • Seated Woman • Standing Female Nude • Standing Nude • Pitcher And Three Bowls • The Reservoir, Horta de Ebro • Crouching Female Nude

• Head Of A Man, 1908 • Head Of A Man • Head Of A Woman • Female Bust • Nude Against • Woman Combing Her Hair • Nude With Towe • Seated Woman • Standing Woman • Bather • Head Of A Man • Seated Nude • Nude With Raised Arms The Avignon Dance • Nude • Harlequin Leaning

• Portrait of Gertrude Stein • Two Nudes • Seated Woman • Nude With Raised Arms • Reclining Woman • Les Demoiselles d'Avignon • Jug And Fruit Dish • Pot Glass And Book • Les Demoiselles d'Avignon • Farm Woman • Seated Nude Against • Composition With Skull • Friendship • Standing Nude

♦  Center Pictures •  Self-Portrait 1896, Age 15 •  Self-Portrait  1901, Age 20 •  Self-Portrait  1907, Age 25 •  Self-Portrait  Age 90

Art in Paris

In this lecture we focused on the way Paris inspired the impressionist movement and in what way the museums and institutions of Paris influenced Picasso and Braque. Paris has been the centre of art for centuries, the city shared the same characteristics as other areas where studio space was cheap and there was a network artist could be a part of, in order to help them grow in the industry.

The first artist we looked at was Manet and his very revolutionary painting ‘Le Déjeuner sur l'herbe’ (Luncheon on the grass) an artwork which marks the development from the formal academy painting were classical depiction of mythology, religion, Greek and Roman gods were desired. Artist refused to be controlled by the academy, controlled in what they could create and what was acceptable. A more independent movement grew, inspired by Baudelaire and his essay ‘Painters of modern life’ were he encapsulated this new way of painting, he believed we should create artworks, music and literature about modern life as that was just as important as the great historical acts. Although the painting is still looking at historical influence as we can see a very beautiful classical picturesque landscape, the way the woman is shown isn’t idealised or sexualised, her gaze in engaging the viewer in a very confrontational way. This painting was rejected by the academy, as the concept of two men fully dressed and a naked woman as the main focus, in control of the scene was outrageous.

Everyday life was being depicted in a very real way, the impressionist were not interested in capturing the most detailed scene but rather a glance of it, as it would be seen by a person. Paintings by Pierre-Auguste Renoir were able to apprehend everyday life. While looking at the characters you can’t help yourself from creating narrative in what could be happening to them. ‘Dance at Le Moulin de la Galette’ could perhaps show a family or couples out for a nice day, some people are sat down having a drink, while others are dancing. It seems to be a sunny day but no too hot, and I imagine it would smell of smoke. The two women at the front could be a mother and daughter speaking to a gentleman which is trying to dance with the daughter. There are also figures at the far right looking at the distance, perhaps admiring the dance of another couple. While in the ‘Luncheon of the boating party’ we can see a group of friends sitting down to have some lunch, it isn’t an aristocratic scene, there is something approachable about this painting, the people aren’t out of reach, and rather they feel tangible.

Another great artist which everyone has probably heard of or has seen is Picasso. One of his main influences in this painting ‘Le Demoiselles Avignon’ was tribal artworks brought back from Africa. In this we looked at how postcolonial reading viewed artworks which would be called primitive, now we question the word ‘primitive’ and rather is there another way we can describe this influence and not deduce the art, my lecturer called it tribal art, perhaps a better definition rather than the early state of the human mind.  In this analytical cubism Picasso was exploring the way we look at representation in space, similarly to Fernand Leger he was not obsessed with aerial perspective like the renaissance painters. Everything was placed right up the picture frame, all three dimensions could and would be placed on one flat surface. Unfortunately, the world was hit by WW1 were many died and artistic work retreated to something that was safe in order to bring back order, this is called the Neo Classicism. In ‘The Seated Harlequin’ we can see a very classical figure, the way the character has been placed on the chair and the use of dimension, as seen clearly from his face, it’s no longer flat. However, Picasso didn’t leave everything he learned in Cubism his colour palette was still very vibrant and didn’t fit the classical frame, there is still something new and fresh about it, but it’s no longer challenging.

We also looked at Serialism and its underlying pin, in psychoanalysis a therapy developed by Sigmund Freud to look into our subconscious in order to help soldiers which suffered with shellshock and other mental abnormalities caused by the horrors of war. Salvador Dali was a big part of this movement, he is notorious for painting his dreams, paintings which when seen from different angles and perspective we can see something different which doesn’t quite make sense. In the ‘Apparition of a Face and Fruit Dish on a Beach’ we can see a mountain at the background which also forms into a dog, these paintings were meant to represent a glimpse into our subconscious and the way we structured our worlds.  

In conclusion, this lecture might have been my favourite yet. There is so much to learn about Paris and all the movements which originated there. I had seen Dali’s work when I was young in specific ‘The Persistence of Memory’ however I didn’t realise the concept behind his work, behind serialism which is definitely a topic I want to investigate more.

Before the widely acclaimed ‘Les Demoiselles d'Avignon’ by Pablo Picasso (1907; originally titled ‘The Brothel of Avignon’), there was the amazing collection of the cubist, psychedelic Beatus of Liébana:

The Great Whore gets drunk with one of the Kings of the Earth. From the Facundus Beatus, Commentarium in Apocalypsin. 1047 AD. España.  Bibliothèque Infernale on FB

“These miniaturists of the tenth century, who anticipated their millennium, had already practiced the glaze technique. Gauguin, preceded by Matisse in the countercurves, with their fluid contours, invented the realistic expressiveness of Picasso in the Señoritas de Avignon. And in fact, until the arrival of the art of cubist portraits we would not see again things like face and front profile, the animal disproportion of the painter of Guernica, anticipated by these apocalyptic illuminators.” —Jacques Fontaine, The Pre-Romanesque Hispanic Art