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Essay / Research Paper Abstract
5 pages in length. Interpretation is limited only as far as one's imagination. After all, what we like and do not like is all a matter of personal taste. Such is the same for Pablo Picasso's "Mademoiselles d'Avignon," inasmuch as the
artist harbored a much talked about abstract style. Some revered this appearance, others were wildly disapproving of it. But one must ask what is beauty in art? Is that distinction not absolutely interpretive, as well? Truly, it is quite difficult to define what is beautiful when the very essence is as individual as the fragrance of a flower. Picasso's "Mademoiselles d'Avignon" holds an inordinate degree of inherent magnificence, which is its primary point of interest. Bibliography lists 1 source.
Page Count:
5 pages (~225 words per page)
File: LM1_TLCpablo.doc
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Unformatted sample text from the term paper:
Such is the same for Pablo Picassos Mademoiselles dAvignon, inasmuch as the artist harbored a much talked about abstract style. Some revered this appearance; others were wildly disapproving
of it. But one must ask what is beauty in art? Is that distinction not absolutely interpretive, as well? Truly, it is quite difficult to define what
is beautiful when the very essence is as individual as the fragrance of a flower. Picassos Mademoiselles dAvignon holds an inordinate degree of inherent magnificence, which is its primary
point of interest. "No painter or sculptor, not even Michelangelo, had been as famous as this in his own lifetime. And it is quite possible that none ever
will be again, now that the mandate to set forth social meaning, to articulate myth and generate widely memorable images has been so largely transferred from painting and sculpture to
other media: photography, movies, television" (Hughes, 1998, p. 72). Light is the primary separation that exists between two-dimensional and three-dimensional painting.
Through his masterpiece Mademoiselles dAvignon, Picassos influence helped the world to understand this relationship through his artistic masterpieces, serving to stimulate the inherent connection that exists between flat surfaces and
tangible formation. That he also was a talented sculptor speaks to the fact that Picasso was fully capable of translating his two-dimensional canvas technique to the three-dimensional sculpture.
Like his more physically laborious works of art, Picasso was able to blend his knowledge of two- and three-dimensional art by utilizing both the flat canvass and the palpable
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