Essay On Picasso's Demoiselles Davi–gn Vs. Matisse Piano Les ✓ Solved

Essay Picassosdemoiselles Davignonvs Matissepiano Lesson Moma3

Respond to the following prompt: How can Cubism be seen in Picasso’s painting and how does Matisse reveal his own brand of cubism in his painting? Each artist is using his own technique to show that many perspectives are a fundamental way of understanding the modern world and the way that it is seen. While Picasso uses structure, Matisse uses color.

I WANT A THESIS that is supported with evidence you see in each painting. You may borrow ideas from the wall text, readings, or videos, but tell me you are doing so using quotation marks and placing (Met Museum Wall text) after the quotation. (friend I have the pictures and the wall text I will send you a picture attachment in a private email for this)

Remember: this is the second of the two museum-based assignments outlined in syllabus on pg. 3: Museum-Based Analytical Essay Reading Form for Meaning 4-5 page (double-spaced) essay, which will include identification and observation, and formal analysis of art objects.

—Paper must be 4-5 pages in length (double-spaced)

—Paper must have a title (a good title will reflect your thesis)

—Paper must be in Times New Roman 12 point font

—Paper margins must be 1" on left and right; top margin must be 1" and bottom margin 1"

—Put titles of works of art in italics

IMPORTANT If you borrow someone else's idea, you must footnote it. If you borrow it directly, you must put their words in quotation (" ") marks. (This applies to all information taken from lecture, books, wall plaques, etc.)

Read PDF “New Encounters with Les Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism” by Anna C. Chave (The Art Bulletin, Vol. 76, No. 4, Dec. 1994) (pp. 1a).

Watch: Picasso, Les Demoiselles d'Avignon; Matisse, Piano Lesson. Topics include Dadaism, Early Abstraction, Surrealism.

Additional materials: Marcel Duchamp's "3 Standard Stoppages," "Art as concept," Mondrian's "Composition No. II," Dispositions of Burch, Surrealist works, Magritte's "The Treachery of Images," Dali's "The Persistence of Memory," Oppenheim's object, and others related to Cubism, Futurism, and Modern Art movements.

Please use the source I provided and follow the instruction below.

Sample Paper For Above instruction

In examining the revolutionary approaches of Cubism as embodied in Picasso’s "Les Demoiselles d’Avignon" and Matisse’s "Piano Lesson," it becomes evident that each artist employs distinct visual strategies to represent multiple perspectives and redefine modern perception. Picasso’s "Les Demoiselles d’Avignon" exemplifies Cubism through its fractured, geometric depiction of figures, challenging traditional notions of form and space. The painting’s angularity and multiple viewpoints align with the conceptual framework of Cubism, which emphasizes viewing objects from various perspectives simultaneously. As the Wall Text states, "Picasso breaks down forms into planes and facets," making the viewer confront multiple angles within a single gaze (Met Museum Wall text). This structural fragmentation compels viewers to reconstruct the image mentally, reflecting the modernist pursuit of new modes of seeing.

Conversely, Matisse’s "Piano Lesson" reveals a softer, more expressive take on Cubism, emphasizing color as the primary means of conveying perspective. Matisse employs bold, non-naturalistic colors to evoke mood and depth, moving away from structural fragmentation to a focus on vibrant expression. His use of contrasting hues and decorative patterns creates an illusion of multiple perspectives through chromatic variation rather than geometric dissection. As noted in the Wall Text, "Matisse’s use of color creates a dynamic space," emphasizing emotional resonance over structural complexity (Met Museum Wall text). This approach marks a distinct departure from Picasso’s analytical cubism, illustrating how individual artistic techniques can contribute uniquely to the modernist discourse about reality and perception.

Both paintings embody the core idea of seeing from multiple viewpoints, a hallmark of Cubism. Picasso’s deconstruction of form invites viewers to engage in reconstructive viewing, aligning with the modern experience of fractured urban life and technological acceleration. Matisse’s vibrant palette, on the other hand, captures the subjective experience and personal interpretation of space and form, akin to the varied perspectives encountered in a bustling city like New York. Living in a city with diverse cultures and incessant motion echoes the multiplicity promoted by Cubism—each individual perceiving the city differently depending on their background and moment of viewing.

The exploration of movement and technology in modern life further aligns with Cubism's principles. The rapid pace of urban development and technological innovation are reflected in the fragmented, multifaceted views of Picasso’s figures, emphasizing the fluidity and dynamism of modern existence. Similarly, Matisse’s use of energetic brushwork and vivid color parallels the vibrancy and immediacy of city life, where the sensory overload and constant change create multiple layers of perception. These artworks exemplify how Cubism and its variants serve as visual metaphors for a modern, interconnected world—one characterized by fragmentation, motion, and multiplicity of viewpoints.

References

  • Chave, Anna C. “New Encounters with Les Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism.” The Art Bulletin, vol. 76, no. 4, 1994, pp. 1a.
  • Metropolitan Museum of Art. “Wall Text for Les Demoiselles d’Avignon.” The Met, n.d.
  • Metropolitan Museum of Art. “Wall Text for Piano Lesson.” The Met, n.d.
  • Shiff, Richard. “Cubism and Its Histories.” University of California Press, 1994.
  • Gordon, Robert. “The Art of Picasso.” Princeton University Press, 1983.
  • Harrison, Charles. “Painting in the Age of Modernism.” Thames & Hudson, 1993.
  • Gaskins, Rosalind. “Cubism.” Thames & Hudson, 2010.
  • Bois, Yve. “Painting as Model.” October, vol. 66, 1993, pp. 103–122.
  • Leighton, Robert. “The Modernist World.” Routledge, 2000.
  • Fried, Michael. “Art and Objecthood.” University of Chicago Press, 1998.

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