Leo Steinberg Flatbed Picture Plane Analysis

A piece of art is not limited to a painting that captures a representation of imagery. Art is anything that stirs emotions in a person or makes them think, just like Marcel Duchamp accomplished in 1917 with one of his most famous pieces Fountain. Art can be anything that captures and represents the artists emotions, mental state, and personality with every brushstroke, and the usage of colors while also reflecting the mentality, thoughts, and major events that occur in a certain period, such as Picasso’s Guernica. To understand the message that the artist is trying to convey, one must look deeper than what is on the surface of the artwork, which is what I will do with this piece of art, scrutinizing its mysteries as well as its motives.

In Abstract Expressionism - a certain construction of the world we call “individuality” is revealed in its true, that is to say, contingent, vulgarity. And so is painting; or rather, so are paintings like Hofmann’s “The Garden” and Adolph Gottlieb’s “Black, Blue Red” - done as they were under the sign or spell of such a construction, by “individuals” believing utterly (innocently, idiotically) in its power.

Utilising, “The Study Diamond: effects, techniques, context and meaning” (The Open University, 2013, p. 76), this essay will argue through close visual analysis from an art history point of view that Picasso’s Guernica is a form of protest. The essay will also argue that Guernica’s meaning has changed to include becoming a symbol of peace and continues to fulfil its purpose as a form of protest.

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.

The representation of women and the female body in surrealist art is best exemplified in Dali’s ‘In Voluptas Mors’ and in Rene Magritte’s ‘Le Viol’. Dali distorted female bodies, producing a nightmarish effect in his most notorious photograph titled "In Voluptas Mors," which translates to Voluptuous Death. The black-and-white photo is of nude women arranged to resemble a skull. Female figure is sexualized and objectified and also is depicted to be death itself. The photograph depicts distorted torsos creating a skull, women are merely naked torso’s, ‘’voluptuous’’ and sexual. Without individuality and identity the bodies in Dali’s work, are an example the female image surrealism. Magritte’s most shocking and contradictory work, Le Viol’, can be translated as ‘the rape’. In the painting, nipples replaces eyes, a belly button where her nose should be, and a vulva for a mouth, the female face is erased by the female torso imposed upon it. The painter might be suggesting that female anatomy is bound to be her destiny, that this is how the society views her. One might see this as Magritte criticizing the values of his times as the painting is open to interpretation. However, there is no doubt that he indented to shock his viewers. The artist’s intentions aside,

Roy Lichtenstein’s art ‘investigates modes of representation - the visual properties of style and reproduction’. (Weitman 1999 p.46) Lichtenstein was fixated on advertisements and comic strips. These modes of

The post-modernist Julie Rrap is a contemporary artist whose focal point rests on the basis of femineity and the way the female identity is represented historically within art. She is a feminist who accuses the ‘male gaze’ of instigating a predatory activity that is accustomed with the norm of society. She relates this norm to existing social structures that are attributed with a patriarchal society, where women were nothing more than sexual objects. All in all this term, the ‘male gaze’ evaluates the predatory voyeurism of society, where the male is the active subject and the female is a passive object of representation.

Despite evident differences in the compositional elements of Picasso’s Les Demoiselles and Manet’s A Bar at the Folies-Bergère, both utilise a composition with a shallow plane to distort visual perception in their work. This distortion promotes the spectator to revaluate the way they perceive these female prostitute subjects. Picasso’s treatment of paint and use blocked colours in Les Demoiselles creates the sensation of a flat, two-dimensional image, signifying a radical break from traditional modes of representation. The lack of depth in the painting pushes the figures of female prostitutes on top of each other, layering the stark angles and sharp forms that make up their bodies. In addition, this layering on such a large scale (243.9 cm × 233 cm) creates a feeling that the figures are pushing beyond the boundaries of the work and imposing themselves onto the spectator. Furthermore, the stances of the prostitutes, who are dramatically flaunting their bodies with arms raised and torsos presented openly, fills the frame, refusing the spectator to accesses to other areas of the image. Instead the female figures dominate the attention of the viewer, in some ways empowering these figures who previously lacked representation. These formal elements of composition all come together in Les Demoiselles to challenge the spectator’s ways of viewing the females in the work.

In John Berger’s essay “Ways of Seeing,” he shares his view on how he feels art is seen. Mr. Berger explores how the views of people are original and how art is seen very differently. By comparing certain photographs, he goes on to let his Audience, which is represented as the academic, witness for themselves how art may come across as something specific and it can mean something completely different depending on who is studying the art. The author goes into details of why images were first used, how we used to analyze art vs how we do today, and the rarity of arts. He is able to effectively pass on his message by using the strategies of Rhetoric, which include Logos, Pathos, and Ethos.

Guernica is monochromatic to make its imagery more powerful. Lack of color keeps the viewer focused on the subject matter at hand, as well as keeping the mural cold, which agrees with its general theme of injustice in war. Also, Picasso’s flat imagery does not distract the viewer from concentrating on imagery. The viewer is given no other choice than to concentrate on the subject matter of Guernica and ponder it’s meaning. The flat, grayscale images generalize the imagery and contribute to the general theme of unnecessary suffering and tragedy.

The essay will make use of the works of photographic artists who engage in one of the two schools of photography, Pictorialism and Modernism. The artists that will be used for this essay are Paul Strand who has been selected for the Modernist development together with a Russian artistic photographer Alexander Rodchenko and As White remained rooted to Pictorialism, his stance on his methodology and set up in the 1920s and 1930s led to occurrence of the stirring up of quite a number of understudies to handle his visualization style which was fresh and innovative (White, Clarence H., Jr. and Peter C. Bunnell 1965). In the process of talking about the two schools of photography, Pictorialism and Modernism rather than focus on the clash and disagreements that occurred from Pictorialism and Modernism it is more suitable to examine the merits in both the method and styles used in the two schools of

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

Pablo Picasso, one of the greatest and most influential artists of the 20th century and co-founder of the Cubist movement, was a participant in Europe’s political discourse during most of the early 1900s. Picasso’s Guernica, one of his most powerful political statements, was painted as an immediate reaction to the Nazi’s casual bombing practice on the Basque town of Guernica during the Spanish Civil War. Guernica, a mural-size canvas painted in blue, black, and white oil, shows tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. Picasso depicts turmoil, people and animals suffering, with building in disarray torn apart by violence and mayhem. With Guernica, Picasso establishes his identity and his strength as an artist when confronted with political authority and intolerable violence, especially in his native land. Interpretations of the symbolism of Guernica

Secondly, the medium that Hoch and Rosenquist use witnesses how mass media, industrialization, and mass consumption marched. The photomontage is like a poster or a magazine page while the oil painting is like most large-scale billboard paintings. The Beautiful Girl and The Light That Won’t Fail I are given the feel of an advertisement. In Hoch’s photomontage and Rosenquist ‘soil painting, we see Hoch and Rosenquist were engaging with the new forms of mass media of their time periods. Hoch, as Dadaist, made a great contribution to developing photomontage as medium of representation. Dada artists replaced paint all together, making use exclusively of ready-made

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.