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Essay / Research Paper Abstract
A 7 page analytical research paper on Picasso's 'Guitar.' Beginning with a brief introduction to Picasso's life & works, the writer specifically examines how this particular painting does or does not relate to the artist, his other works, and to the Cubist movement itself. Numerous elements of the painting are analyzed, discussed, and elaborated upon. Bibliography lists 10 sources.
Page Count:
7 pages (~225 words per page)
File: D0_Picasso.doc
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Unformatted sample text from the term paper:
8, 1973. During his lifetime, it is obvious when viewing different paintings from different periods that he was one of the most influential and successful artist of the 20th century,
and used different mediums to express his profound genius. Picasso had a lifelong ability to assimilate aesthetic ideas and to work in a variety of styles, of which the "Guitar"
was certainly one. In looking at other Picasso paintings where it is obvious that he went through other periods and interests such as the "blue period" (1901-04) where his use
of blue as a motif was apparently derived from the symbolic importance of that color. Then it obvious from other paintings that he then entered the "rose period,"
in 1904, where he painted harlequins and circus performers in a lighter and warmer color scheme, but with an underlying mood of spiritual loneliness and lyrical melancholy. The blue
of his "blue period" paintings was retained (Gelertner 50-1). However, it is obvious from the "Guitar" that the lyricism of Picassos blue and rose periods vanished abruptly in the next
phase of his career where he laid the foundation for Cubism (Perl 73). Looking at the painting one is struck by the similarity between it and the simplicity of pre-Christian
Iberian bronzes and some indigenous African art pieces. Picasso painted with a consciously primitive and monumental style using a reductionist method of underlying the structure by a few basic shapes
that appear to be two- and three-dimensional surfaces, using collage as a medium (emphasis Leighten 611). With this different type of schemata, Picasso appeared to be even more analytical than
he was in the past. It is obvious that Picasso loved to swath through the old order of painting, never letting anyone tie him down to one style, and
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