Formally, the distribution of weight and
energy are both deliberate and diffuse. Elementally, equivalencies are employed
more than overwhelming proportions. While the subject matter objectively
abstract, the arrangement and formal treatment of the canvas instills a “sense of
order” on its own; static asymmetry applies. Value-based patterning is
foundational to the expressiveness of this masterpiece, as is a combination of
blended and incised value restriction.
The composition is dominated by diluted chroma, severe shape, and homogeneous value that, combined with line, defines shapes. The “logical order” of this composition is the simultaneous display of a single object, a young woman playing a stringed instrument, where one side is bathed in light, and the opposite is in shadow. The fragmenting of one side is the other’s “negative space”, and vice versa.
Picasso carefully arranges both planes on the single, flat picture plane, masterfully implying a sense of depth organic to this composition. A measured application of modeling in individual fragments and a more “global” sense of modeling when the pieces are considered in total support this depth. Fragments are rotated, overlap, are calibrated in their “solidness”, penetrate each other and imply tension with each other.
Ma Jolie (“My Pretty One”) has a focus strategy similar to Marc’s The Large Blue Horses. The subject is…well, subjective. It’s an idea. Unmistakable grid-like movement is built in the rectilinear forms arranged at perpendicular angles to each other. More jarring, discordant energy is created by the edges running at a somewhat consistent vertically oblique angle and a slight conflict of rounded versus rigid lines and edges. Edge definition is also vertically-oriented, coming into focus towards the center and blending at the terminals. The perspective of the observer seems to be stationary, while her or his field of vision is forced into the smaller area of the canvas.
So what is the idea? Besides what has been mentioned (two perspectives), creating a sense of formal order seems to be Picasso’s goal. He demonstrates his artistic mastery by employing comparatively sparse disharmonious choices to keep this work from becoming static. The subject is not the model that provided the content for the fragments; the fragments themselves, their arrangement, and their impact on the observer is this work’s content.
The composition is dominated by diluted chroma, severe shape, and homogeneous value that, combined with line, defines shapes. The “logical order” of this composition is the simultaneous display of a single object, a young woman playing a stringed instrument, where one side is bathed in light, and the opposite is in shadow. The fragmenting of one side is the other’s “negative space”, and vice versa.
Picasso carefully arranges both planes on the single, flat picture plane, masterfully implying a sense of depth organic to this composition. A measured application of modeling in individual fragments and a more “global” sense of modeling when the pieces are considered in total support this depth. Fragments are rotated, overlap, are calibrated in their “solidness”, penetrate each other and imply tension with each other.
Ma Jolie (“My Pretty One”) has a focus strategy similar to Marc’s The Large Blue Horses. The subject is…well, subjective. It’s an idea. Unmistakable grid-like movement is built in the rectilinear forms arranged at perpendicular angles to each other. More jarring, discordant energy is created by the edges running at a somewhat consistent vertically oblique angle and a slight conflict of rounded versus rigid lines and edges. Edge definition is also vertically-oriented, coming into focus towards the center and blending at the terminals. The perspective of the observer seems to be stationary, while her or his field of vision is forced into the smaller area of the canvas.
So what is the idea? Besides what has been mentioned (two perspectives), creating a sense of formal order seems to be Picasso’s goal. He demonstrates his artistic mastery by employing comparatively sparse disharmonious choices to keep this work from becoming static. The subject is not the model that provided the content for the fragments; the fragments themselves, their arrangement, and their impact on the observer is this work’s content.
No comments:
Post a Comment