Large Bathers

While Picasso’s Demoiselles is not a true Cubist work, it was nonetheless a major step towards Cubism. It features nude figures and background that are so distorted they seem to forgo any spatial depth. The softness of classical female bodies are restructured by Picasso into

Reclining nude female is a common subject matter in art history since the Venetian Renaissance, Titian’s Venus of Urbino painted in 1538 is one of the earliest reclining nude female in painting history. It described a beautiful young female laying on her bed with her sleeping dog, on the back ground is her maids looking for cloth or her in the cassone. Manet’s Olympia that painted in 1865 is a painting with a similar composition, A nude young female who was suggested a prostitute, behind her is her black female maid holding a big bouquet of flower which is possibly from her customer. On the same part of the composition, there is an animal as well, but this time it is a cat. Titian and Manet’s reclining nude female have a same composition and subject matter, however They are very different in art history, both stylistically and culturally.

One of the unique parts of the ‘Seated Woman’ painting is the style that is presented by Picasso. Made mainstream in the art world by Picasso and fellow artist Georges Braque, cubism is the

“People can take what they like out of the work”-Saville (YouTube, 2017). The female nude is one of the most prominent themes in the history of art and has been subject for many masterpieces such as botticelli's The Birth of Venus and Manet’s Le Dejeuner sur I’herbe. Saville's treatment of the female nude is undeniably like no other from the centuries before her.

Les Demoiselles d'Avignon (The Young Ladies of Avignon, and originally titled The Brothel of Avignon) is a large oil painting of 1907 by the Spanish artist Pablo Ruiz Picasso (1881–1973). The work portrays five nude female prostitutes from a brothel on Avinyó Street in Barcelona. Each figure is depicted in a disconcerting confrontational manner and none are conventionally feminine. The women appear as slightly menacing and rendered with angular and disjointed body shapes. Two are shown with African mask-like faces and three more with faces in the Iberian style of Picasso's native Spain, giving them a savage aura. In this adaptation of Primitivism and abandonment of perspective in favor of a flat, two-dimensional

For centuries, sexuality and nude figures has been a face of art. Venus of Urbino by Titian and Olympia by Édouard Manet represents the faces of female domination and their ability to lure any men. In this essay we shall talk about the two artists, Manet and Titian, and also compare and contrast between the two painting based on their cultural and structural significance. Manet was born in 1832 in Paris. He was considered as the founder of modern art and a master analyst of visual arts. His artworks were realistic, spontaneous and monumental. Inspite of coming from a privileged family, Manet’s work mostly consisted paintings of the less desirable and the lower class people of Paris. His artworks commonly represented everyday life scenarios

Nude figures have been featured in art works since around 30 to 25,000 B.C. And throughout the history of art, we can see a lot of artists being inspired and influenced by great talents before them, in one way or another they would carry the style or ideas of those previous artists into their own art and create new masterpieces. One particular example is Édouard Manet’s Olympia from the Realism period, and Yasumasa Morimura’s Futago. The two paintings share great similarities in their composition, but the content and purpose of the paintings, and style wise the two pieces are very different.

Artist and people viewing the art work have always had a fascination with the female nude. Even when I was a child my attention was captured by the nude art not because I was a kid and I saw a nude lady , but it forced me to wonder more about why the female nude was so amazing as a tool for art and why this is repeated so many times throughout the centuries. One female nude painting in particular was the subject of controversy and exposed the syncretism and or the power of the female nude painting.

The painting shows five women naked with flat figures, disintegrated planes and faces, inspired by African masks. The compacted space the figures occupy appears to project forward in jagged shards; a fiercely pointed slice of melon in the still life of fruit at the bottom of the composition teeters on an impossibly upturned table top. In this painting, Picasso makes a radical departure from traditional European painting by adaptation of Primitivism and abandonment of perspective in goodwill of a level two-dimensional picture of a plane.

Picasso's painting entitled "Standing Figure" depicts a nude woman with her arms crossed behind her head. It was painted in 1908 during a key period of invention and experimentation, as Picasso began to construct his paintings in a new way. The figure is translated into simplified, geometric forms, reflecting Picasso's interest in the art of Africa and Oceania. Using only a few colors, he focuses the viewer's attention on the intersection of these geometric forms. It seems as though Picasso uses the blue lines in this painting like some sort of directional device, drawing attention to the outline of the woman's figure. As we discussed in class, the style of cubism uses multiple or contrasting vantage points. Another element of cubism is simplifying more complicated scenes into geometric forms. Cubism rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas.

ime to produce a work that is a preeminent example of an established movement at its zenith, or that heralds the beginning of a new and significant art movement. Pablo Picasso was very much an artist who was always on the leading edge of art and whose influence was so significant that he helped establish four movements: Cubism, Neoclassicism, Surrealism, and Expressionism (Voorhies, 2004. para. 1). His unique vision and artistic foresight came together early in his career in 1907 with his first masterpiece, "Les Demoiselles D'Avignon". Combining traditional elements with abstracted forms and unexpected primitive motifs, the painting was initially rejected by patrons and fellow artists but is now recognized as "one of the most important works in the genesis of modern art" ("Les Demoiselles", 2016, para. 3).

As well as Matisse’s Bonheur de Vivre, Pablo Picasso’s Les Demoiselles d’Avignon was inspired by and deviated from Cezanne’s great achievement. Cezanne’s landscape is a broad open field with the abstract females surround a pond as they bath with abstract surroundings, very much different from Picasso’s

Matisse paints wildly sensual figures in his art piece. Matisse used bright colors and the white canvas to create a light-filled quality in his paint. Unlike the painting of Cézanne, Matisse's work does not illustrate the design of the piece that recedes in the background and decrease in scale. If you look the figures in the foreground and the middle ground of painting, you will see that the scale is poorly skewed. The difference of scale between the player of the double flute, located in the bottom center, and the couple kissing, located in the bottom right, is believable, but if we take the flute player to be a child, what about the others? Compared to the figures standing, who are obviously grown women, located in the center, these women are of largely proportioned. They are simply too big to make sense of the traditional style of Western painting. The painting was shocking to the art community for its style and for its content. Each figure is enjoying its own life: in nature, naked, and wildly sensually. Matisse said the “depiction of hedonistic joy represented his dream for ‘an art of balance, of purity and serenity, devoid of troubling or depressing subject matter’” ("La joie de vivre: the top 10 list",

Pablo Picasso is generally considered one of the best and most influential artists of the modernist era and perhaps of all time. His personal life was anything but stable, marked by a vast sex drive that caused him to have multiple wives and mistresses, constantly searching for new women as he lost interest with his former lovers. This womanizing aspect of his personality and the tumultuous times in his life resulting from it had a great effect on his art. A large number of his works have a sexual component to them, such as nudity, phallic and vaginal imagery, and depictions of sexual acts. Furthermore, it becomes apparent that Picasso dehumanized women in his art, turning them into sexual objects rather than human beings. The multiple “periods” divide his artistic life are often a direct result of his sexual life. It is important to realize the sexuality of Picasso in looking at one of his works to gain a deeper understanding of it. As a result, we will examine both the sexual imagery in the works of Picasso and his personal life, and investigate how they relate to each other.

     Before the twentieth century, art was recognized as an imitation of nature. Paintings and portraits were made to look as realistic and three-dimensional as possible, as if seen through a window. Artists were painting in the flamboyant fauvism style. French postimpressionist Paul Cézannes flattened still lives, and African sculptures gained in popularity in Western Europe when artists went looking for a new way of showing their ideas and expressing their views. In 1907 Pablo Picasso created the painting Les Damsoilles d'Avignon, depicting five women whose bodies are constructed of geometric shapes and heads of African masks rather then faces. This new image grew to be known as 'cubism'. The name originating from the critic