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Cubism Artworks in Focus:
Les Desmoiselles d'Avignon (1907)
Picasso's painting was shocking even to his closest artist friends both for its content and for its formal experimentation. The subject matter of nude women was not in itself unusual, but the fact that Picasso painted the women as prostitutes in aggressively sexual postures was novel. Their blatant sexuality was heightened by Picasso's influence from non-Western art that is most evident in the faces of three of the women, which are rendered as mask-like, suggesting that their sexuality is not just aggressive, but also primitive. The unusual formal elements of the painting were also part of its shock value. Picasso abandoned the Renaissance illusion of three-dimensionality, instead presenting a radically flattened picture plane that is broken up into geometric shards. For instance, the body of the standing woman in the center is composed of angles and sharp edges. Both the cloth wrapped around her lower body and her body itself are given the same amount of attention as the negative space around them as if all are in the foreground and all are equally important. The painting was widely thought to be immoral when it was finally exhibited in public in 1916. Braque is one of the few artists who studied it intently in 1907, leading directly to his later collaboration with Picasso. Because it predicted some of the characteristics of Cubism, Les Desmoiselles is considered proto or pre-Cubist.Read More ...
Georgian theories of proportion and symmetry governing the design of the façade were developed in the early eighteenth century and derived from the classical temples of Ancient Greece and Rome. Adapting Palladio’s principles, the Neo-Palladians created a system of proportions and ratios based on the square and circle (or cube and sphere). The square, in particular was considered the key to architectural beauty: and Robert Morris (1703-54) in his ‘Lectures on Architecture’ of 1734 and 1736 established seven ideal proportions, all based on the cube. Proportions based on squares were used to determine window openings and the system of window openings relative to wall areas, thus if the house was three bays wide (the usual width of the Georgian town house) then the space occupied by the first and second floor windows would usually be made roughly a square. Picture shows Dowry Square, Bristol, c1750.
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