Pablo Picasso Conflict

When cavemen were around, they used art as a way to record their huntings and stories. As the world became more civilized, art became a valued part of a sophisticated society. The early 20th century believed art should reflect only beauty. However, people experienced traumatic events like World War II, and 9/11 and artists took these experiences creating art that was drastically different from the beautiful meadow fields. Ever since then, art has become more provocative leading to debates on whether some contemporary art today is art. Although many people dislike contemporary art, controversy exists because art reflects current culture and our culture has controversial events and every person has a different has a perspective about it.

My artwork was inspired by Pablo Picasso---- Head of A Woman. It was painted in 1960 by oil. This artwork is a woman’s head, but there are two parts on her face. One is the side view and one is the front view, which is the style of Picasso. Likewise, I cube my face in two part and the opposite side of my shoulder. In my view, that is the way Picasso used to show 3D of his work, by painting different sides of one object and put them in one piece. I used blocks of solid color in the background, line drawing, and sharp boundaries. In contrast. I focus a lot on details. In ancient Chinese art’s, there are some elements that make me thought with Pablo Picasso. When people are painting, they would like to paint bigger on the object

Diego Rivera was known for a muralist of the Mexican Social Realism. This movement was the brutality of WWI. It attacked capitalist. Rivera was a communist, he believed in the common ownership in social, political, and economic ideology that strived to maintain social order. One example of this

Diego Rivera was born in Guanajuato, Mexico, where he was began his interest in drawing at an early age. He began his study of art at the age of ten, where he attended the San Carlos Academy of Fine Arts in Mexico City. After years of study at the San Carlos Academy of Fine Arts, Rivera left Mexico to study art across Europe. His travels landed him at the feet of many immensely inspirational artists and art movements. He was acquainted with Pablo Picasso during the beginning of Cubism and adopted these influences, becoming an established artist in the time of economic unrest. Rivera began adopting ideas of Marxism, which pushed him to understand the spectacle and power of art. Rivera then moved back to Mexico and began using his art to empower the individual in the face of capitalistic oppression. His early art upon his return to Mexico was focused around socially engaging murals, highlighting the plight of the lower working class and indigenous Mexican heritage. This medium of art spoke to the masses, gifting all citizens with the beauty of art without the bias of a single entity. In her book, Akira to Zoltan: twenty-six men who changed the world, Autor Cynthia Chin-Lee explains the significance of this medium in the way Rivera used it. She states that Rivera “wanted art for all, not just the rich, and his art decorated areas where everyone could see them: in schools, plazas, and public buildings.” (Chin-Lee 7) Being free of museum bias or hegemonic forces that would make his art a commodity, Rivera was able to speak to all citizens, regardless of their class. His pieces related to the human condition and interpolate the viewers to understand themselves in a new and radical fashion. This is the power that visuals and art have, to make us feel a certain emotion or perceive the world around us in a completely

The author began by educating the reader about a few major event and background information that affected Picasso. Firstly, Berger mention that’s Spain is a feudal county, which meant that it was very old fashioned and it still used the feudalism system. According to the Oxford Dictionary feudalism mean the dominant social system in medieval Europe, in which the nobility held lands of the Crown in exchange for military service, and vassals were in turn tenants of the nobles, while the peasants (villeins or serfs) were obliged to live on their lord's land and give him homage, labor, and a share of the produce, notionally in exchange for military protection. This meant that Spain was undeveloped compared to the country surrounding them. Spain at the time also lacked many major industrial companies, thus made them very poor. As a consequence of this people were fed up with the lack of changes. This spark the idea of anarchism, which means the abolition of all government and organization of society. On top of all this, Spain was a very

After the bombing on Guernica, the Basque people have nothing left. Their houses were burned, their families were killed, and their culture was crashed. However, by looking at Picasso's mural, we can see that despite grief and pain, the Basques still have a little hope left in them. Despite the irresponsibility from the government, the Basque race still managed to survive from this terrible tragedy. Last but not least, Picasso wants the world to give its blessings to these unfortunate people, because them too, are seeking for hope and blessings for the survival of the Basques race.

Picasso was a great artist of his time and a major icon to free will art today, but he was an abusive sexist man who didn't think of women highly at all. Women

The first article I examined is titled “Gertrude Stein and Picasso: The Language of Surfaces”. This article was written by L. T. Fitz and exposes similarities between Stein’s writing technique and Picasso’s art technique, making the observation that both the artist and the writer attempt to express what is really seen of a subject, and avoid recreating subjects by memory (228). Fitz discusses in his thesis the three major similarities that he noticed between the two: approaching their topic from a cubist perspective, recreating what is actually seen as opposed to relying upon memory, and finally using language in a non symbolic manner (230). Fitz examines these three major similarities individually and explains to his audience how both the

Numerous aspects of the painting clearly portray Picasso’s feelings about the war, specifically the bombing on the village of Guernica. The symbolism is difficult to deny, even with the abstractness of the painting. Individuals in the painting can be seen with mangles bodies, reflecting what occurred during the bombing of Guernica. There is a man in the painting lying upwards that appears dead and has a detached arm. Around him there are other wounded with pained and tortured expressions of their faces. A woman can be seen clutching a lifeless body, her face expressing immense grief. Many people were wounded and killed by the bombings. There is another person in the painting with his arms out and a leg dragging. His

Picasso instigated his early work from the influence of the famous artists of the time like El-Greco and his frequent trips to Barcelona and Paris where he spent most of his young adult life (Blum 270). Picasso’s adulthood life presumably encompassed emotional struggle as the author hints in his statement “Achieving emancipation and independence was accompanied by emotional upheaval. His inner reactions of grief, loss, and loneliness were expressed in his melancholic blue compositions” (Blum 270). Whereas it was a defining moment of self-realization for Picasso, the independence that comes with early adulthood and grief from the death of Cochita were the reasons for the emotional distress that he channeled towards his blue compositions. From the author’s point of view, Picasso used the melancholic blue paintings as a therapy for his inner desperation in addition to understanding the extent to which the emotional turmoil was influencing his life. “I regard Picasso’s Blue Period art partly as His projection on canvas of attempts to master his mourning and melancholia alienation and bitterness during his stressful protracted late adolescence” (Blum 271). One may perceive the gradual shifts of Picasso’s life towards developing artistic skills as a primary cause of alienation from the

Emphasizing some of aspects and areas in Picasso’s painting, he uses of dark and pale grey colors. The painting is also divided into two groups, the left side is given to the mockery civilians while on the right side is for a large number of crowd soldiers. Sad to say, that the artwork poses strong reflections are found in the strengths and power between the two said

Picasso was seeking to convey how devastating the Spanish Civil War was especially to the civilians. He shows the anguish the people in Spain had to endure throughout the war, both emotional and physical pain. In the painting, there is various people who appear to be in great pain and others dead. Guernica also conveyed how it affected not just a couple civilians but a clear majority of civilians as there is many who appeared to be in despair. The people of Spain had to suffer living in war zones and having their living spaces destroyed which shows how war brings agony to everyone around it not just soldiers and how people’s lives are destroyed like the mother who is holding her dead child must suffer with her baby’s death forever.

According to Oneota School of Art and Humanities, Picasso’s painting “Guernica” is the most important anti-war work of art produced in the twentieth century. At the time “Guernica” was being presented in Spain, the creation of modern technology was being celebrated. This theme contributed to the symbolism behind the work, which portrayed how the use of inhumane technology contributes greatly to the horrors of war. This symbolism still remains very relevant to our present day society due to the way wars have continued to occur since the Spanish Civil War all across the world and due to the continuous advancement of tactical warfare. Over the past decade, it seems as if wars have become more and more brutal due to the strong advancements in

Many artists develop their works from their most compelling moments in life, whether they are filled with excruciating pain or unspeakable joy. Pablo Picasso creates work based on a multitude of influences in his life, from the suicide of his best friend to the rising of his career (Bio). However, a single theme reoccurs throughout his life that most would argue causes him to create some of the greatest paintings of his time: women. Critics shaped the different phases of his art into “periods” such as the Blue Period, Rose Period, Cubism Period, Surrealist Period, and Self-Portrait Period (Bio). His art was manipulated based on the dominant state of mind he was in during these stages of life, and many of the emotions had to do with the women he was involved with at the time. Though one might think that an artist who places such a passionate focus on women must deeply admire and respect them, Picasso does not fit into this standard. He actually felt a very strong sense of superiority to females, painting them as objects: cold, faceless, and purely created for sexual satisfaction (Withers 1). However, evidence strongly suggests that he probably feared them more than anything else. Every single one of his “periods” of art are heavily ruled by paintings of women, particularly nude, that tell a story about an experience he had; if he was so affected by women that he spent countless hours painting about it, there had to have been more going on

Pablo Picasso is easily considered one of the best and most influential artists of the 20th Century and perhaps of all time, with his unique style and being one of the innovators of cubism and surrealism. When it come the personal life of Picasso, it was anything but stable. Reflecting in this work, Picasso was cursed with an almost unmanageable sex drive that caused him to have multiple wives and mistresses, keeping Picasso on a constant search for new women as he lost interest with his former lovers. Having such womanizing qualities within his personality and the constant struggle to find a balance between his sexual desires has had a great effect on his art. A large number of his works have a sexual component to them, whether is nudity, sexual activities, complete exposure of breast and vaginal areas, and men genitalia. Furthermore, it becomes apparent that Picasso dehumanized women in his art, turning them into sexual objects rather than human beings. The multiple “periods” (blue, rose, cubist, classical, and surrealist) dividing his artistic life are often a direct result of his sexual life. To get a true understanding of Picasso’s pieces are to understand the underlining sexual motive deeper within. To know Picasso and his state of mind while completing each one of his works, we must compare the sexual imagery to his personal life and see how they correlate to each other.