Need a couple sentences done in art class. Maybe like 2 paragraphs, no more than 10 sentences. I got the attachments required to guide you also with assignment. Pretty easy
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from_sketch_to_final_vision.docx
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From Sketch to Final Vision: Pablo Picasso’s Les Demoiselles d’Avignon
No one could look at Picasso’s large painting of 1907, Les Demoiselles d’Avignon (Fig. 1-13), and call it
aesthetically beautiful, but it is, for many people, one of his most aesthetically interesting works. Nearly
8 feet square, it would come to be considered one of the first major paintings of the modern era—and
one of the least beautiful. The title, chosen not by Picasso but by a close friend, literally means “the
young ladies of Avignon,” but its somewhat tongue-in-cheek reference is specifically to the prostitutes
of Avignon Street, the red-light district of Barcelona, Spain, Picasso’s hometown. We know a great deal
about Picasso’s process as he worked on the canvas from late 1906 into the early summer months of
1907, not only because many of his working sketches survive but also because the canvas itself has been
submitted to extensive examination, including X-ray analysis. This reveals early versions of certain
passages, particularly the figure at the left and the two figures on the right, which lie under the final
layers of paint.
An early sketch (Fig. 1-11) reveals that the painting was originally conceived to include seven figures—
five prostitutes, a sailor seated in their midst, and, entering from the left, a medical student carrying a
book. Picasso probably had in mind some anecdotal or narrative idea contrasting the dangers and joys of
both work and pleasure.
Figure 1-11(Pablo Picasso, Medical Student, Sailor, and Five Nudes in a Bordello (Compositional study
for Les Demoiselles d’Avignon), Paris, early 1907)
In the final version, Picasso abandoned the male figures. By doing so, he involved the viewer much more
fully in the scene. No longer does the curtain open up at the left to allow the medical student to enter.
Now it is opened by one of the prostitutes as if she were admitting us, the audience, into the bordello.
We are implicated in the scene.
And an extraordinary scene it is. Picasso seems to have willingly abdicated any traditional aesthetic
sense of beauty. There is nothing enticing or alluring here. Of all the nudes, the two central ones are the
most traditional, but their bodies are composed of a series of long lozenge shapes, hard angles, and only
a few traditional curves. It is unclear whether the second nude from the left is standing or sitting, or
possibly even lying down. (In the early drawing, she is clearly seated.) Picasso seems to have made her
position in space intentionally ambiguous.
Fig.1-13
(Pablo Picasso, Les Demoiselles d’Avignon, 1907)
We know, through X-rays, that all five nudes originally looked like the central two. We also know that,
sometime after he began painting Les Demoiselles, Picasso visited the Palais du Trocadéro, now the
Museum of Man, in Paris, and saw its collection of African sculpture, particularly African masks. He was
strongly affected by the experience. The masks seemed to him imbued with power that allowed him, for
the first time, to see art, he said, as “a form of magic designed to be a mediator between the strange,
hostile world and us, a way of seizing power by giving form to our terrors as well as our desires.” As a
result, he quickly transformed the faces of three of the five prostitutes in his painting into African masks.
The masks freed him from representing exactly what his subjects looked like and allowed him to
represent his idea of them instead.
That idea is clearly ambivalent. Picasso probably saw in these masks something both frightening and
liberating. They freed him from a slavish concern for accurate representation, and they allowed him to
create a much more emotionally charged scene than he would have otherwise been able to accomplish.
Rather than offering us a single point of view, he offers us many, both literally and figuratively. The
painting is about the ambiguity of experience.
Nowhere is this clearer than in the squatting figure in the lower right-hand corner of the painting. She
seems twisted around on herself in the final version, her back to us, but her head is impossibly turned to
face us, her chin resting on her grotesque, clawlike hand. We see her, in other words, from both front
and back. (Notice, incidentally, that even the nudes in the sketch possess something of this “double”
point of view: Their noses are in profile though they face the viewer.) But this crouching figure is even
more complex. An early drawing (Fig. 1-12) reveals that her face was originally conceived as a headless
torso. What would become her hand was initially her arm. What would become her eyes were her
breasts. And her mouth began as her bellybutton. Here we are witness to the extraordinary freedom of
invention that defines all of Picasso’s art, as well as to a remarkable demonstration of the creative
process itself.
Fg.1-12 (Pablo Picasso, Study for Les Demoiselles d’Avignon: Head of the Squatting Demoiselle, 1907)

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