His viewpoint was always adult in nature. He never drew pictures like a child does – “not even when he was very young,” according to his own account. Picasso was always talented and even unique. Picasso thus creates an exciting cubist piece with brilliant polychromy.Īll this exists and, according to Picasso, can be represented on a single canvas, board or two-dimensional paper. The imagined (or dreamt) vision of Picasso – the sixth dimension – is portrayed in the way in which the mirror reflects an image back at the model of an ugly and decrepit woman who gazes at death. The horizontal black stripes on the left are Marie-Thérèse’s ribs and, therefore, they make reference to the fifth dimension, also present in the representation of a foreshadowed pregnancy in a circumference. In this portrait of his muse and lover, Marie-Thérèse Walter, we can see the fourth dimension thanks to the face in profile view and the same face in frontal-view. Girl before a Mirror, by Pablo Picasso, held by the Museum of Modern Art in New York. Cubism before a mirrorĪ good example of these dimensions is the painting Girl before a Mirror, from 1932, which is in the Museum of Modern Art in New York. This is what is not there or cannot be seen but what we know exists in the imagination or we have seen in a dream (thus, Picasso was also several years ahead of surrealism). The sixth dimension is the imagined or “dreamlike” dimension. This, in the Renaissance, would have been unthinkable – what was not seen was not represented. The fifth dimension (or “depth” dimension) is, for example, the representation of a bare chest with a heart, normally invisible under the epidermis, or the lung. He depicted a fourth dimenson – the ability to represent the back – or what is not perceived but what we know is there, for example, the face and the nape of a single character in the same plane. Picasso went further and achieved the representation of another three dimensions. Peter, by Perugino (1481-1482), it is perfectly clear how the third dimension is achieved through perspective (the piece’s correct depth). They had managed to represent the perfectly consolidated third dimension in a scientific way in Italian Quattrocento paintings – with the first dimension being height, the second width, and the third depth (thanks to the geometric rules of perspective). This made it possible to go beyond the creative limit set by the painters of the Italian Renaissance. Picasso made cubism official in 1907, but it was something that he had already been able to imagine and begin to represent in some drawings from his time and apprenticeship in A Coruña: the ability to create a new style, a new artistic way of seeing and representing reality. The young Picasso’s work was an early form of cubism, an artistic and stylistic movement that officially began in 1907 with the famous painting Les Demoiselles d'Avignon (The Young Ladies of Avignon – in reference to an old and well-known street in Barcelona with brothels), painted by Picasso. Through several of the drawings and sketches in pencil made by the young man from Malaga during his formative years in A Coruña (1891-1895), in the North of Spain, we can see clear foreshadowing of what became a revolution that spanned the arts, the limits of perception, communication and expression. At the end of the 19th century, long before starting to speak, Pablo Ruiz Picasso (1881-1973) was already drawing – and he grew up “capturing” everything he saw with a pencil.
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