Picasso, Les Demoiselles d'Avignon발음듣기
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Picasso, Les Demoiselles d'Avignon
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Picasso, Les Demoiselles d'Avignon
(piano playing) Voiceover: We're looking at a great masterpiece by Picasso, Les Demoiselles d'Avignon, from 1907 or in English, The Young Ladies of Avignon.
Voiceover: MoMA's second most famous painting.
Voiceover: After the Starry Night.
Voiceover: Right, after van Gogh's Starry Night and for many art historians, especially modernists, by far their most important painting.
Voiceover: It heralded as the beginnings ...
Voiceover: Twentieth century art, in so many ways.
Voiceover: Yeah, absolutely.
And it's an extraordinary painting for us to have in New York, but it's a pretty tough painting.
Voiceover: It is. It's still a tough painting.
It still looks like, what was he thinking?
You know, some figures look so radically different than others, it kind of lacks stylistic unity. Right.
Voiceover: Cohesiveness, yeah.
I mean, some people have talked about this as almost a kind of laboratory, that where the artist was literally just throwing everything in to see what would happen.
Voiceover: It does seem like that, doesn't it?
Voiceover: It's almost as if we're witnessing a kind of experimentation.
Voiceover: And didn't Matisse call it the Death of Painting or something like that?
Voiceover: He brocaded it.
Voiceover: People were aghast.
Voiceover: And Picasso kept it in his studio and really kept it out of sight for a long time.
Voiceover: Maybe he was afraid to show it to all that many people.
Voiceover: I think that that's true. But Matisse responded to this.
I mean, he saw this as a challenge and in some ways of course, some art historians see this as a response from Matisse.
That is, Matisse had painted The Joy of Life and a lot of art historians look at this as a kind of response to that great focused canvas.
Voiceover: And certainly not expressing that joie de vivre ...
Voiceover: No, not at all.
Voiceover: ... that we see in Matisse.
Voiceover: No. He's taken all of Matisse's joy, all of the ...
Voiceover: Sensuality.
Voiceover: ... all of the pleasure,
Voiceover: The sense of nature.
Voiceover: The classicism that was so implicit there.
Voiceover: Right.
Voiceover: And he's condensed it. He's made it brutal.
Voiceover: Interior.
He's brought in African.
Voiceover: Iberian. That's right. That's right. Archaic art.
There's lots of stories and lots of anecdotes behind this painting.
Maybe we should talk a little bit about what's being represented.
Voiceover: Well, we have five women who are understood to be prostitutes.
Voiceover: In a brothel.
Voiceover: In a brothel and in the early sketches, Picasso had depicted, because there were many, many, many sketches.
Voiceover: Lots of studies. Even though this looks like a sketch in many ways.
Voiceover: Yes, but it's not at all. It was very carefully thought out.
So, in the early studies there's a male figure walking in from the left who was identified, I think, by Picasso as a medical student, right?
Voiceover: Right. That's right.
Voiceover: And he's carrying a medical textbook and a skull and he's walking into the brothel and so there's a way that that figure now is removed from the painting.
He doesn't appear and the figures seem to instead be addressing themselves to us,
Voiceover: And that ...
That reminds me of Manet.
Voiceover: To Olympia, right.
Voiceover: You have Hortisen looking directly out of the viewer, the viewer becomes the customer.
Voiceover: Right.
Voiceover: And Picasso is clearly aware of this.
Voiceover: Yes, and these five women acknowledge us, so this is often being called.
Voiceover: Or the, right? Proto-cubist, exactly.
And I think we see that in the relationship between, well first of all, the figures themselves are violently rendered. They're almost like shattered pieces of glass.
Voiceover: Yeah, they're very angular.
Voiceover: They're sharp and they look a little bit dangerous, but I think what a lot of art historians look at is the way that they are really embedded rather than being in front of the ground.
That is to say the figures in the ground.
Voiceover: Yeah, merged.
Voiceover: Really merged in a way ...
Voiceover: There's no sense of volumes in an empty space, but rather space itself has a kind of palpable presence to it.
Voiceover: Yeah, that's a great way of putting it.
Absolutely. One of the ways I've looked at it is almost fragments of glass in a stained glass window.
Voiceover: Where everything is on that ... ... same plane.
Voiceover: On that simple plane. That's exactly right.
And even as there is also references to space because the woman in the upper right is clearly peering through curtains.
Voiceover: Right.
Voiceover: And so there is this sense of space, but at the same time, she is also at the same plane and it is very emphatically reminding us of the picture plane of the canvas.
Voiceover: Yeah.
Voiceover: And really, just allowing that kind of illusionist depth that had been so powerful and in that sense, of course, Picasso is again referencing Manet.
Voiceover: And taking a big step toward taking apart that one point perspective tradition that had been so important since Giotto and the Renaissance resistance.
Voiceover: And so there ...
There he's really referencing Cézanne, right?
Voiceover: Right.
Voiceover: Because one of the ways in which this is referred ...
Voiceover: Showing different points of view ... ... at the same time.
Voiceover: Exactly, as if we are moving through this space and seeing these women seeing these curtains from different perspectives simultaneously.
Voiceover: Right. We're not the single fixed viewer anymore, but maybe a viewer who experiences the space more physically, moving through it.
Voiceover: More dynamically.
Voiceover: More dynamically.
Voiceover: Absolutely.
The painting also is, it's large, so that the figures are virtually life size.
Voiceover: Yep.
Voiceover: So, there's a kind of palpable quality to that, but then there's lots of other references that are thrown in.
You had mentioned African and Iberian.
If you look at the two figures on the right, clearly wearing African masks, which Picasso had begun to collect at this point.
Voiceover: And which he identified with a kind of primitive-ist sexuality or sexual ...
Voiceover: Kind of danger, really.
Voiceover: Right. A kind of looking back or looking at African artists having some kind of magical, psychological power that he wanted to bring to European painting, I think.
Voiceover: Maybe this is connected to the Corbet idea that somehow the western tradition had become too civilized and had lost a kind of truth and if one could go back to this more primitive society.
It's very racist, really, in many ways.
If one could go back to this primitive society one could reclaim that kind of directness, that kind of truth.
Voiceover: Right.
Voiceover: But then, here's what's interesting is he doesn't just go to Africa.
The figure on the extreme left is taken from a head of an Iberian sculpture that is something from Spain or Portugal, but long before ...
Voiceover: Ancient Spain.
Voiceover: That's right, before even the classical tradition, this archaic tradition that Picasso had apparently seen in an exhibition at the Louvre and so there, we have this notion of Europe in this, sort of, pre-classical mode in this truer time when art was more direct.
Voiceover: And so, everything that the west held so dear about it's progress about it's accomplishments, the realism of it's art, all of those things, Picasso, that the west held as great achievements, Picasso just tosses out the window.
Voiceover: And that's perfect for Picasso's biography because remember, Picasso had been a child prodigy.
He had learned all of those traditions so easily.
Voiceover: From his father.
Voiceover: From his father and then ...
Voiceover: Edible drama there, maybe?
Voiceover: That's right and, of course, this is one of those paintings where early in his career, where he's really rejecting that and he's really, in a sense, trying to unlearn and create a new visual language that is appropriate to our industrial culture.
Voiceover: I know that there's some interpretations.
Voiceover: Lying down.
Voiceover: ... kind of a reclining figure.
Voiceover: Yeah. Yeah, second from the left.
That is, we can read her both as a vertical figure, perhaps leaning, but also her head on a pillow.
The sheet is no longer a curtain now and Picasso is looking down. A sort of shift of perspective.
Millian Ruben who was the curator of MoMA for many years wrote articles about this painting in where he talked about Picasso's fear of syphilis, of contracting disease at these brothels and perhaps the notion of these women as other representing that fear.
Voiceover: Right and also the power that the women had.
Voiceover: Because Picasso did visit these.
Voiceover: And the sort of fear that that kind of desire, caused it.
Voiceover: Yeah, and perhaps that was the primitive-ism that Picasso was looking at.
Voiceover: Maybe in himself?
Voiceover: Yeah. (piano playing)
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(piano playing) Voiceover: We're looking at a great masterpiece by Picasso, Les Demoiselles d'Avignon, from 1907 or in English, The Young Ladies of Avignon.발음듣기
대기중
Voiceover: Right, after van Gogh's Starry Night and for many art historians, especially modernists, by far their most important painting.발음듣기
대기중
And it's an extraordinary painting for us to have in New York, but it's a pretty tough painting.발음듣기
대기중
You know, some figures look so radically different than others, it kind of lacks stylistic unity. Right.발음듣기
대기중
I mean, some people have talked about this as almost a kind of laboratory, that where the artist was literally just throwing everything in to see what would happen.발음듣기
대기중
Voiceover: And Picasso kept it in his studio and really kept it out of sight for a long time.발음듣기
대기중
I mean, he saw this as a challenge and in some ways of course, some art historians see this as a response from Matisse.발음듣기
대기중
That is, Matisse had painted The Joy of Life and a lot of art historians look at this as a kind of response to that great focused canvas.발음듣기
대기중
Voiceover: In a brothel and in the early sketches, Picasso had depicted, because there were many, many, many sketches.발음듣기
대기중
So, in the early studies there's a male figure walking in from the left who was identified, I think, by Picasso as a medical student, right?발음듣기
대기중
Voiceover: And he's carrying a medical textbook and a skull and he's walking into the brothel and so there's a way that that figure now is removed from the painting.발음듣기
대기중
Voiceover: You have Hortisen looking directly out of the viewer, the viewer becomes the customer.발음듣기
대기중
And I think we see that in the relationship between, well first of all, the figures themselves are violently rendered. They're almost like shattered pieces of glass.발음듣기
대기중
Voiceover: They're sharp and they look a little bit dangerous, but I think what a lot of art historians look at is the way that they are really embedded rather than being in front of the ground.발음듣기
대기중
Voiceover: There's no sense of volumes in an empty space, but rather space itself has a kind of palpable presence to it.발음듣기
대기중
Absolutely. One of the ways I've looked at it is almost fragments of glass in a stained glass window.발음듣기
대기중
And even as there is also references to space because the woman in the upper right is clearly peering through curtains.발음듣기
대기중
Voiceover: And so there is this sense of space, but at the same time, she is also at the same plane and it is very emphatically reminding us of the picture plane of the canvas.발음듣기
대기중
Voiceover: And really, just allowing that kind of illusionist depth that had been so powerful and in that sense, of course, Picasso is again referencing Manet.발음듣기
대기중
Voiceover: And taking a big step toward taking apart that one point perspective tradition that had been so important since Giotto and the Renaissance resistance.발음듣기
대기중
Voiceover: Exactly, as if we are moving through this space and seeing these women seeing these curtains from different perspectives simultaneously.발음듣기
대기중
Voiceover: Right. We're not the single fixed viewer anymore, but maybe a viewer who experiences the space more physically, moving through it.발음듣기
대기중
Voiceover: So, there's a kind of palpable quality to that, but then there's lots of other references that are thrown in.발음듣기
대기중
If you look at the two figures on the right, clearly wearing African masks, which Picasso had begun to collect at this point.발음듣기
대기중
Voiceover: Right. A kind of looking back or looking at African artists having some kind of magical, psychological power that he wanted to bring to European painting, I think.발음듣기
대기중
Voiceover: Maybe this is connected to the Corbet idea that somehow the western tradition had become too civilized and had lost a kind of truth and if one could go back to this more primitive society.발음듣기
대기중
If one could go back to this primitive society one could reclaim that kind of directness, that kind of truth.발음듣기
대기중
The figure on the extreme left is taken from a head of an Iberian sculpture that is something from Spain or Portugal, but long before ...발음듣기
대기중
Voiceover: That's right, before even the classical tradition, this archaic tradition that Picasso had apparently seen in an exhibition at the Louvre and so there, we have this notion of Europe in this, sort of, pre-classical mode in this truer time when art was more direct.발음듣기
대기중
Voiceover: And so, everything that the west held so dear about it's progress about it's accomplishments, the realism of it's art, all of those things, Picasso, that the west held as great achievements, Picasso just tosses out the window.발음듣기
대기중
Voiceover: And that's perfect for Picasso's biography because remember, Picasso had been a child prodigy.발음듣기
대기중
Voiceover: That's right and, of course, this is one of those paintings where early in his career, where he's really rejecting that and he's really, in a sense, trying to unlearn and create a new visual language that is appropriate to our industrial culture.발음듣기
대기중
That is, we can read her both as a vertical figure, perhaps leaning, but also her head on a pillow.발음듣기
대기중
The sheet is no longer a curtain now and Picasso is looking down. A sort of shift of perspective.발음듣기
대기중
Millian Ruben who was the curator of MoMA for many years wrote articles about this painting in where he talked about Picasso's fear of syphilis, of contracting disease at these brothels and perhaps the notion of these women as other representing that fear.발음듣기
대기중
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