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Cubism Artworks in Focus:
Les Desmoiselles d'Avignon (1907)
Picasso's painting was shocking even to his closest artist friends both for its content and for its formal experimentation. The subject matter of nude women was not in itself unusual, but the fact that Picasso painted the women as prostitutes in aggressively sexual postures was novel. Their blatant sexuality was heightened by Picasso's influence from non-Western art that is most evident in the faces of three of the women, which are rendered as mask-like, suggesting that their sexuality is not just aggressive, but also primitive. The unusual formal elements of the painting were also part of its shock value. Picasso abandoned the Renaissance illusion of three-dimensionality, instead presenting a radically flattened picture plane that is broken up into geometric shards. For instance, the body of the standing woman in the center is composed of angles and sharp edges. Both the cloth wrapped around her lower body and her body itself are given the same amount of attention as the negative space around them as if all are in the foreground and all are equally important. The painting was widely thought to be immoral when it was finally exhibited in public in 1916. Braque is one of the few artists who studied it intently in 1907, leading directly to his later collaboration with Picasso. Because it predicted some of the characteristics of Cubism, Les Desmoiselles is considered proto or pre-Cubist.Read More ...
|For the Pallladian façade this system of proportions was combined with the architectural elements of the Roman temple consisting of a rusticated basement, columns or pilasters, entablature (including the cornice and pediment) and attic. Five types of columns with the superstructure they supported – known as the Five Orders – were used to determine the adornment of the façade (see drawing below). The Five Orders were the Tuscan, Doric, Ionic, Corinthian and Composite and were easily distinguished by the particular carving of the capitals and their individual proportions. The Orders were applied to a building for decorative purposes and also to ‘order’ the design of the facade. The Orders were either applied to the facade or implied by dividing the facade in height according to the divisions of an individual column. Even where the main architectural components of the temple were absent their presence could be implied by the use of certain details. Thus a cornice or even a flat string course was used to suggest the location of the entablature, or a sill band or string course at first floor level could be used to indicate the line of the column base while another above the ground floor windows could be used to indicate the junction between the column pedestal and temple podium. In a three storey high house, for example, the temple composition was implied by the ground floor storey corresponding to the area of the podium while the two stories above fell within the area of the column shaft. For the largest and grandest terraced block the temple formula provided further inspiration for the front. By adding a pediment over the centre the row was given a palace-like front. Now the overall unity of the design was more important than the facades of individual houses. John Wood (1704-5) adopted the palace front for the north side of Queen Square in Bath, started in 1728, and thereafter the pediment was widely used.|
|1.||"When Night Falls" (긴 밤이 오면)||Eddy Kim||03:48|
|3.||"You Belong to My World" (좋겠다)||Roy Kim||03:38|
|4.||"I Love You Boy"||Suzy||04:30|
|5.||"While You Were Sleeping" (당신이 잠든 사이에)||03:22|
|6.||"Your World" (너의 세상)||Various Artists||03:37|
|7.||"Lucid Dream" (자각몽)||Monogram||03:41|
|8.||"When The Nightmares Started"||Various Artists||03:11|
|9.||"Awesome Cute"||Various Artists||01:56|
|11.||"Spirit of Fire"||Various Artists||01:56|
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