Cubists Pablo Picasso And Georges Braque And Les Demoiselles D Estaque

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Cubists Pablo Picasso and Georges Braque took investigation into independent experimentation with light, space and form. As Cubists they rejected the early conventions of representational art in their works and delved into abstraction and the distortion of the traditional human body and mundane objects. Picassos artworks, Les Demoiselles d’Avignon (1907), and Girl with a Mandolin (1910) combined with Braque’s artworks, House at L’Estaque (1908), and, The Portuguese (1911), effectively demonstrate their investigations into light, space and form through Cubism.
Pablo Picasso, around 1910 experimented with the cubist geometric illusion of space as a means of redefining traditional representational art. Influenced by intellectuals and radicals
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Abandoning the three dimensionality and idealised human forms practiced in Renaissance , the artwork served Picasso as a means of rejecting traditional painting that was commonly favoured. Depicting an accounted brothel scene, flat fractured planes, and sharp pointed vantage points distort the abstracted work. Hence through many vantage points and sharp geometric figures Picasso’s considerations relate to abstraction. Further inspired by African and Iberian sculpture, Picasso has chosen to depicted mask like forms on the profile of the figures. Such forms experimented by Picasso has allowed for a confronting, and horrific portrayal of savagery within the nude subjects. Leaving the five nude figures to direct their stare to the audience the underlying sexual confrontation and anxiety are fed to the audience. As a means to emphasis the two dimensionality of the flat canvas multiple vantage points formed by geometric shards embody the standing women in the centre to create a sense of space. Picasso’s study of colour highlights the space of the artwork …show more content…
However, Braque’s objective was in the practice of artistic interest rather than Picassos affectionate practice towards the object. The investigation of new painting practices in the everyday life forms and materials is depicted through Braque’s, oil on canvas, “House at L’Estaque” (1908). Investigations in Cubism’s abstraction, is seen through pictorial space of the artworks space. For example, the depiction of simplified, structural blocks created from no perspective and highly rigorous geometric forms throughout the work, all deter back to the investigations of Braque’s analytical cubism. The allusion to the individual, geometric houses compacted on top of each other, is investigated through Braque’s methodology of abstraction to portray no distinct structural foreground, middle ground and background features within the works. Furthermore, the similarity of simplistic forms and colour depicted in the cardboard like houses further show Braque’s investigations into achieving an effective composition of analytical cubism. The composition of muted colours, expressed through browns and greens combined strategically with light are depicted through harsh, short brushstrokes illustrated on the flat abstraction of space in the objects. Further dark tonal features dominating the plane, with thick, harsh brush strokes are used in

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