The early 20th century was an exciting, but also very shocking, time for art; artistic styles were, as always, evolving, but the rate in which such changes took place was simply astonishing. One very clear example of both the evolution of style and technique and its rapid pace are found when comparing Paul Cézanne's 1906 painting, "Large Bathers," with Pablo Picasso's 1907 work, "Les Demoiselles d'Avignon." Picasso made it no secret that his "Les Demoiselles d'Avignon" was a tribute to the late Cézanne's final collection; however, though both works feature similar subjects, and were created within mere months of one another, their overall technique and style could not be more different. Cézanne's work clearly reflected the ideals of post-impressionism
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Cézanne's "Large Bathers" radiates a sense tranquility and peace. This soothing aura could be attributed to the cool pigments that were used to create a generous portion of the painting; it could very well be the result of the crude brushstrokes that appear to blend together the vast sky, the bowing trees, and the inviting water; the fact that the sun appears to be shining on, and only for, the bathers; or it could be the forms of the bathers, themselves the softness of their curves and indistinct expressions creating a sense of solidarity with their setting. The bathers, their bodies unnaturally elongated and disproportionate, appear to be enjoying themselves; their sense of harmony is even further emphasized by the way they all appear to be leaning in toward the water; as the viewer, your eyes are drawn in, as well. Picasso's "Le Demoiselles d'Avignon, however, radiates anything but harmony. His unnerving piece depicts five figures each one a woman, and each of whom is crudely and disproportionately illustrated. Two of these figures, judging from their body positions and their background, which contrasts greatly from the setting shared by the other three, appear as if they are lying down their come-hither stares and barely covered bodies almost seem to offer the viewer an invitation. The right-most two figures appear to be sporting primitive tribal masks;
Cézanne's "Large Bathers" radiates a sense tranquility and peace. This soothing aura could be attributed to the cool pigments that were used to create a generous portion of the painting; it could very well be the result of the crude brushstrokes that appear to blend together the vast sky, the bowing trees, and the inviting water; the fact that the sun appears to be shining on, and only for, the bathers; or it could be the forms of the bathers, themselves the softness of their curves and indistinct expressions creating a sense of solidarity with their setting. The bathers, their bodies unnaturally elongated and disproportionate, appear to be enjoying themselves; their sense of harmony is even further emphasized by the way they all appear to be leaning in toward the water; as the viewer, your eyes are drawn in, as well. Picasso's "Le Demoiselles d'Avignon, however, radiates anything but harmony. His unnerving piece depicts five figures each one a woman, and each of whom is crudely and disproportionately illustrated. Two of these figures, judging from their body positions and their background, which contrasts greatly from the setting shared by the other three, appear as if they are lying down their come-hither stares and barely covered bodies almost seem to offer the viewer an invitation. The right-most two figures appear to be sporting primitive tribal masks;