section

アビニヨンの娘たち

Although Les Demoiselles had an enormous and profound influence on modern art, its impact was not immediate, and the painting stayed in Picasso's studio for many years. At first, only Picasso's intimate circle of artists, dealers, collectors and friends were aware of the work. Soon after the late summer of 1907, Picasso and his long-time lover Fernande Olivier  separated. The re-painting of the two heads on the far right of Les Demoiselles fueled speculation that it was an indication of the split between Picasso and Olivier. Although they later reunited for a period, the relationship ended in 1912.A photograph of the Les Demoiselles was first published in an article by Gelett Burgess entitled "The Wild Men of Paris, Matisse, Picasso and Les Fauves", The Architectural Record, May 1910.Les Demoiselles would not be exhibited until 1916, and not widely recognized as a revolutionary achievement until the early 1920s, when André Breton  published the work.Richardson goes on to say that Matisse was irate upon seeing the Demoiselles at Picasso's studio. He let it be known that he regarded the painting as an attempt to ridicule the modern movement; he was outraged to find his sensational Blue Nude, not to speak of Bonheur de vivre, overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy. Just as the Bonheur de vivre had fueled Picasso's competitiveness, Les Demoiselles now fueled Matisse's.Among Picasso's closed circle of friends and colleagues there was a mixture of opinions about Les Demoiselles. Georges Braque and André Derain were both initially troubled by it although they were supportive of Picasso. According to William Rubin, two of Picasso's friends, the art critic André Salmon and the painter Ardengo Soffici , were enthusiastic about it while Guillaume Apollinaire  was not. Both the art dealer-collector Wilhelm Uhde , and Kahnweiler were more enthusiastic about the painting however.According to Kahnweiler Les Demoiselles was the beginning of Cubism. He writes:</ref>}}

Prompt: アビニヨンの娘たちに焦点を当てて、その影響を説明してください。英語で出力して下さい。

André Breton
André Derain
André Salmon
Architectural Record
Ardengo Soffici
Cubism
Cubism
Fernande Olivier
Gelett Burgess
Georges Braque
Guillaume Apollinaire


section

アビニヨンの娘たち

Although Les Demoiselles had an enormous and profound influence on modern art, its impact was not immediate, and the painting stayed in Picasso's studio for many years. At first, only Picasso's intimate circle of artists, dealers, collectors and friends were aware of the work. Soon after the late summer of 1907, Picasso and his long-time lover Fernande Olivier  separated. The re-painting of the two heads on the far right of Les Demoiselles fueled speculation that it was an indication of the split between Picasso and Olivier. Although they later reunited for a period, the relationship ended in 1912.A photograph of the Les Demoiselles was first published in an article by Gelett Burgess entitled "The Wild Men of Paris, Matisse, Picasso and Les Fauves", The Architectural Record, May 1910.Les Demoiselles would not be exhibited until 1916, and not widely recognized as a revolutionary achievement until the early 1920s, when André Breton  published the work.Richardson goes on to say that Matisse was irate upon seeing the Demoiselles at Picasso's studio. He let it be known that he regarded the painting as an attempt to ridicule the modern movement; he was outraged to find his sensational Blue Nude, not to speak of Bonheur de vivre, overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy. Just as the Bonheur de vivre had fueled Picasso's competitiveness, Les Demoiselles now fueled Matisse's.Among Picasso's closed circle of friends and colleagues there was a mixture of opinions about Les Demoiselles. Georges Braque and André Derain were both initially troubled by it although they were supportive of Picasso. According to William Rubin, two of Picasso's friends, the art critic André Salmon and the painter Ardengo Soffici , were enthusiastic about it while Guillaume Apollinaire  was not. Both the art dealer-collector Wilhelm Uhde , and Kahnweiler were more enthusiastic about the painting however.According to Kahnweiler Les Demoiselles was the beginning of Cubism. He writes:</ref>}}

Prompt: アビニヨンの娘たちの影響を説明してください。英語で出力して下さい。

André Breton
André Derain
André Salmon
Architectural Record
Ardengo Soffici
Cubism
Cubism
Fernande Olivier
Gelett Burgess
Georges Braque
Guillaume Apollinaire


section

アビニヨンの娘たち

Although Les Demoiselles had an enormous and profound influence on modern art, its impact was not immediate, and the painting stayed in Picasso's studio for many years. At first, only Picasso's intimate circle of artists, dealers, collectors and friends were aware of the work. Soon after the late summer of 1907, Picasso and his long-time lover Fernande Olivier  separated. The re-painting of the two heads on the far right of Les Demoiselles fueled speculation that it was an indication of the split between Picasso and Olivier. Although they later reunited for a period, the relationship ended in 1912.A photograph of the Les Demoiselles was first published in an article by Gelett Burgess entitled "The Wild Men of Paris, Matisse, Picasso and Les Fauves", The Architectural Record, May 1910.Les Demoiselles would not be exhibited until 1916, and not widely recognized as a revolutionary achievement until the early 1920s, when André Breton  published the work.Richardson goes on to say that Matisse was irate upon seeing the Demoiselles at Picasso's studio. He let it be known that he regarded the painting as an attempt to ridicule the modern movement; he was outraged to find his sensational Blue Nude, not to speak of Bonheur de vivre, overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy. Just as the Bonheur de vivre had fueled Picasso's competitiveness, Les Demoiselles now fueled Matisse's.Among Picasso's closed circle of friends and colleagues there was a mixture of opinions about Les Demoiselles. Georges Braque and André Derain were both initially troubled by it although they were supportive of Picasso. According to William Rubin, two of Picasso's friends, the art critic André Salmon and the painter Ardengo Soffici , were enthusiastic about it while Guillaume Apollinaire  was not. Both the art dealer-collector Wilhelm Uhde , and Kahnweiler were more enthusiastic about the painting however.According to Kahnweiler Les Demoiselles was the beginning of Cubism. He writes:</ref>}}

Prompt: アビニヨンの娘たちはどのように影響を説明していますか？英語で出力して下さい。

André Breton
André Derain
André Salmon
Architectural Record
Ardengo Soffici
Cubism
Cubism
Fernande Olivier
Gelett Burgess
Georges Braque
Guillaume Apollinaire


section

アビニヨンの娘たち

Although Les Demoiselles had an enormous and profound influence on modern art, its impact was not immediate, and the painting stayed in Picasso's studio for many years. At first, only Picasso's intimate circle of artists, dealers, collectors and friends were aware of the work. Soon after the late summer of 1907, Picasso and his long-time lover Fernande Olivier  separated. The re-painting of the two heads on the far right of Les Demoiselles fueled speculation that it was an indication of the split between Picasso and Olivier. Although they later reunited for a period, the relationship ended in 1912.A photograph of the Les Demoiselles was first published in an article by Gelett Burgess entitled "The Wild Men of Paris, Matisse, Picasso and Les Fauves", The Architectural Record, May 1910.Les Demoiselles would not be exhibited until 1916, and not widely recognized as a revolutionary achievement until the early 1920s, when André Breton  published the work.Richardson goes on to say that Matisse was irate upon seeing the Demoiselles at Picasso's studio. He let it be known that he regarded the painting as an attempt to ridicule the modern movement; he was outraged to find his sensational Blue Nude, not to speak of Bonheur de vivre, overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy. Just as the Bonheur de vivre had fueled Picasso's competitiveness, Les Demoiselles now fueled Matisse's.Among Picasso's closed circle of friends and colleagues there was a mixture of opinions about Les Demoiselles. Georges Braque and André Derain were both initially troubled by it although they were supportive of Picasso. According to William Rubin, two of Picasso's friends, the art critic André Salmon and the painter Ardengo Soffici , were enthusiastic about it while Guillaume Apollinaire  was not. Both the art dealer-collector Wilhelm Uhde , and Kahnweiler were more enthusiastic about the painting however.According to Kahnweiler Les Demoiselles was the beginning of Cubism. He writes:</ref>}}

Prompt: アビニヨンの娘たちに関して、どのように影響が議論されていますか？英語で出力して下さい。

André Breton
André Derain
André Salmon
Architectural Record
Ardengo Soffici
Cubism
Cubism
Fernande Olivier
Gelett Burgess
Georges Braque
Guillaume Apollinaire


section

アビニヨンの娘たち

From 16 to 31 July 1916 Les Demoiselles was exhibited to the public for the first time at the Salon d'Antin, an exhibition organized by André Salmon titled L'Art moderne en France. The exhibition space at 26 rue d'Antin was lent by the famous couturier and art collector Paul Poiret. The larger Salon d'Automne and Salon des Indépendants had been closed due to World War I, making this the only Cubists' exhibition in France since 1914. On 23 July 1916 a review was published in Le Cri de Paris:<blockquote>The Cubists are not waiting for the war to end to recommence hostilities against good sense. They are exhibiting at the Galerie Poiret naked women whose scattered parts are represented in all four corners of the canvas: here an eye, there an ear, over there a hand, a foot on top, a mouth below. M. Picasso, their leader, is possibly the least disheveled of the lot. He has painted, or rather daubed, five women who are, if the truth be told, all hacked up, and yet their limbs somehow manage to hold together. They have, moreover, piggish faces with eyes wandering negligently above their ears. An enthusiastic art-lover offered the artist 20,000 francs for this masterpiece. M. Picasso wanted more. The art-lover did not insist. Leo Steinberg labels his essays on the painting after its original title. According to Suzanne Preston Blier, the word bordel in the painting's title, rather than evoking a house of prostitution  instead more accurately references in French a complex situation or mess. This painting, Blier says, explores not prostitution per se, but instead sex and motherhood more generally, along with the complexities of evolution in the colonial multi-racial world. The name Avignon, scholars argue, not only references the street where Picasso once bought his paint supplies , but also the home of Max Jacob's grandmother, whom Picasso jocularly identifies as one of the painting's diverse modern day subjects.Between September 1984 and January 1985, Les Demoiselles was displayed in an exhibition entitled "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern at the Museum of Modern Art in New York City.  The exhibition displayed modern pieces by artists such as Henri Matisse, Paul Gauguin and Pablo Picasso alongside artifacts from tribal groups from Africa, Oceania and North America in order to reveal how modern artists have interpreted tribal art. The display of this painting among African tribal masks was intended to correlate the masks as the inspiration for the features Picasso painted on the women in Les Demoiselles.The exhibition's catalogue states that the pejorative ethnographic and political connotations of ‘primitivism’ were not the lens of the exhibition’s curation. Nevertheless, the exhibition was controversial, as some critics believed it exemplified western intrigue with the ‘different’ and the harmful notion that Western culture is the modern and ‘ideal’ future.

Prompt: アビニヨンの娘たちに焦点を当てて、そのパブリックビューとタイトルを説明してください。英語で出力して下さい。

André Salmon
Paul Gauguin
Henri Matisse
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

From 16 to 31 July 1916 Les Demoiselles was exhibited to the public for the first time at the Salon d'Antin, an exhibition organized by André Salmon titled L'Art moderne en France. The exhibition space at 26 rue d'Antin was lent by the famous couturier and art collector Paul Poiret. The larger Salon d'Automne and Salon des Indépendants had been closed due to World War I, making this the only Cubists' exhibition in France since 1914. On 23 July 1916 a review was published in Le Cri de Paris:<blockquote>The Cubists are not waiting for the war to end to recommence hostilities against good sense. They are exhibiting at the Galerie Poiret naked women whose scattered parts are represented in all four corners of the canvas: here an eye, there an ear, over there a hand, a foot on top, a mouth below. M. Picasso, their leader, is possibly the least disheveled of the lot. He has painted, or rather daubed, five women who are, if the truth be told, all hacked up, and yet their limbs somehow manage to hold together. They have, moreover, piggish faces with eyes wandering negligently above their ears. An enthusiastic art-lover offered the artist 20,000 francs for this masterpiece. M. Picasso wanted more. The art-lover did not insist. Leo Steinberg labels his essays on the painting after its original title. According to Suzanne Preston Blier, the word bordel in the painting's title, rather than evoking a house of prostitution  instead more accurately references in French a complex situation or mess. This painting, Blier says, explores not prostitution per se, but instead sex and motherhood more generally, along with the complexities of evolution in the colonial multi-racial world. The name Avignon, scholars argue, not only references the street where Picasso once bought his paint supplies , but also the home of Max Jacob's grandmother, whom Picasso jocularly identifies as one of the painting's diverse modern day subjects.Between September 1984 and January 1985, Les Demoiselles was displayed in an exhibition entitled "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern at the Museum of Modern Art in New York City.  The exhibition displayed modern pieces by artists such as Henri Matisse, Paul Gauguin and Pablo Picasso alongside artifacts from tribal groups from Africa, Oceania and North America in order to reveal how modern artists have interpreted tribal art. The display of this painting among African tribal masks was intended to correlate the masks as the inspiration for the features Picasso painted on the women in Les Demoiselles.The exhibition's catalogue states that the pejorative ethnographic and political connotations of ‘primitivism’ were not the lens of the exhibition’s curation. Nevertheless, the exhibition was controversial, as some critics believed it exemplified western intrigue with the ‘different’ and the harmful notion that Western culture is the modern and ‘ideal’ future.

Prompt: アビニヨンの娘たちのパブリックビューとタイトルを説明してください。英語で出力して下さい。

André Salmon
Paul Gauguin
Henri Matisse
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

From 16 to 31 July 1916 Les Demoiselles was exhibited to the public for the first time at the Salon d'Antin, an exhibition organized by André Salmon titled L'Art moderne en France. The exhibition space at 26 rue d'Antin was lent by the famous couturier and art collector Paul Poiret. The larger Salon d'Automne and Salon des Indépendants had been closed due to World War I, making this the only Cubists' exhibition in France since 1914. On 23 July 1916 a review was published in Le Cri de Paris:<blockquote>The Cubists are not waiting for the war to end to recommence hostilities against good sense. They are exhibiting at the Galerie Poiret naked women whose scattered parts are represented in all four corners of the canvas: here an eye, there an ear, over there a hand, a foot on top, a mouth below. M. Picasso, their leader, is possibly the least disheveled of the lot. He has painted, or rather daubed, five women who are, if the truth be told, all hacked up, and yet their limbs somehow manage to hold together. They have, moreover, piggish faces with eyes wandering negligently above their ears. An enthusiastic art-lover offered the artist 20,000 francs for this masterpiece. M. Picasso wanted more. The art-lover did not insist. Leo Steinberg labels his essays on the painting after its original title. According to Suzanne Preston Blier, the word bordel in the painting's title, rather than evoking a house of prostitution  instead more accurately references in French a complex situation or mess. This painting, Blier says, explores not prostitution per se, but instead sex and motherhood more generally, along with the complexities of evolution in the colonial multi-racial world. The name Avignon, scholars argue, not only references the street where Picasso once bought his paint supplies , but also the home of Max Jacob's grandmother, whom Picasso jocularly identifies as one of the painting's diverse modern day subjects.Between September 1984 and January 1985, Les Demoiselles was displayed in an exhibition entitled "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern at the Museum of Modern Art in New York City.  The exhibition displayed modern pieces by artists such as Henri Matisse, Paul Gauguin and Pablo Picasso alongside artifacts from tribal groups from Africa, Oceania and North America in order to reveal how modern artists have interpreted tribal art. The display of this painting among African tribal masks was intended to correlate the masks as the inspiration for the features Picasso painted on the women in Les Demoiselles.The exhibition's catalogue states that the pejorative ethnographic and political connotations of ‘primitivism’ were not the lens of the exhibition’s curation. Nevertheless, the exhibition was controversial, as some critics believed it exemplified western intrigue with the ‘different’ and the harmful notion that Western culture is the modern and ‘ideal’ future.

Prompt: アビニヨンの娘たちはどのようにパブリックビューとタイトルを説明していますか？英語で出力して下さい。

André Salmon
Paul Gauguin
Henri Matisse
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

From 16 to 31 July 1916 Les Demoiselles was exhibited to the public for the first time at the Salon d'Antin, an exhibition organized by André Salmon titled L'Art moderne en France. The exhibition space at 26 rue d'Antin was lent by the famous couturier and art collector Paul Poiret. The larger Salon d'Automne and Salon des Indépendants had been closed due to World War I, making this the only Cubists' exhibition in France since 1914. On 23 July 1916 a review was published in Le Cri de Paris:<blockquote>The Cubists are not waiting for the war to end to recommence hostilities against good sense. They are exhibiting at the Galerie Poiret naked women whose scattered parts are represented in all four corners of the canvas: here an eye, there an ear, over there a hand, a foot on top, a mouth below. M. Picasso, their leader, is possibly the least disheveled of the lot. He has painted, or rather daubed, five women who are, if the truth be told, all hacked up, and yet their limbs somehow manage to hold together. They have, moreover, piggish faces with eyes wandering negligently above their ears. An enthusiastic art-lover offered the artist 20,000 francs for this masterpiece. M. Picasso wanted more. The art-lover did not insist. Leo Steinberg labels his essays on the painting after its original title. According to Suzanne Preston Blier, the word bordel in the painting's title, rather than evoking a house of prostitution  instead more accurately references in French a complex situation or mess. This painting, Blier says, explores not prostitution per se, but instead sex and motherhood more generally, along with the complexities of evolution in the colonial multi-racial world. The name Avignon, scholars argue, not only references the street where Picasso once bought his paint supplies , but also the home of Max Jacob's grandmother, whom Picasso jocularly identifies as one of the painting's diverse modern day subjects.Between September 1984 and January 1985, Les Demoiselles was displayed in an exhibition entitled "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern at the Museum of Modern Art in New York City.  The exhibition displayed modern pieces by artists such as Henri Matisse, Paul Gauguin and Pablo Picasso alongside artifacts from tribal groups from Africa, Oceania and North America in order to reveal how modern artists have interpreted tribal art. The display of this painting among African tribal masks was intended to correlate the masks as the inspiration for the features Picasso painted on the women in Les Demoiselles.The exhibition's catalogue states that the pejorative ethnographic and political connotations of ‘primitivism’ were not the lens of the exhibition’s curation. Nevertheless, the exhibition was controversial, as some critics believed it exemplified western intrigue with the ‘different’ and the harmful notion that Western culture is the modern and ‘ideal’ future.

Prompt: アビニヨンの娘たちに関して、どのようにパブリックビューとタイトルが議論されていますか？英語で出力して下さい。

André Salmon
Paul Gauguin
Henri Matisse
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

Picasso drew each of the figures in Les Demoiselles differently. The woman pulling the curtain on the upper right is rendered with heavy paint. Composed of sharp geometric shapes, her head is the most strictly Cubist of all five. The curtain seems to blend partially into her body. The Cubist head of the crouching figure  underwent at least two revisions from an Iberian figure to its current state. She also seems to have been drawn from two different perspectives at once, creating a confusing, twisted figure. The woman above her is rather manly, with a dark face and square chest. The whole picture is in a two-dimensional style, with an abandoned perspective.Much of the critical debate that has taken place over the years centers on attempting to account for this multiplicity of styles within the work. The dominant understanding for over five decades, espoused most notably by Alfred Barr, the first director of the Museum of Modern Art in New York City and organizer of major career retrospectives for the artist, has been that it can be interpreted as evidence of a transitional period in Picasso's art, an effort to connect his earlier work to Cubism, the style he would help invent and develop over the next five or six years. Suzanne Preston Blier says that the divergent styles of the painting were added intentionally to convey to each women art "style" attributes from the five geographic areas each woman represents. interprets  as the provocation that led to Cubism:Art historian and professor Anna C. Chave agrees with Berger that Les Demoiselles d'Avignon can be taken as the catalyst for the style of Cubism in her 1994 article, New Encounters with Les Desmoiselles d'Avignon: Gender, Race, and the Origins of Cubism. Chave also gives an interesting new perspective on the piece in her article, that of a woman, which stands in stark contrast to the numerous other reviews of the painting provided by men. Additionally, her article focuses not only on the work itself but also on the critiques and assessments of it that have emerged in the decades since it was initially displayed, prompting readers to think deeply about what reactions to the painting say about viewers and society at large.In 1972, art critic Leo Steinberg in his essay The Philosophical Brothel posited a wholly different explanation for the wide range of stylistic attributes. Using the earlier sketches—which had been ignored by most critics—he argued that far from evidence of an artist undergoing a rapid stylistic metamorphosis, the variety of styles can be read as a deliberate attempt, a careful plan, to capture the gaze of the viewer. He notes that the five women all seem eerily disconnected, indeed wholly unaware of each other. Rather, they focus solely on the viewer, their divergent styles only furthering the intensity of their glare.A few years after writing The Philosophical Brothel, Steinberg wrote further about the revolutionary nature of Les Demoiselles:At the end of the first volume of his  three volume Picasso biography: A Life Of Picasso. The Prodigy, 1881–1906, John Richardson comments on Les Demoiselles. Richardson says:Suzanne Preston Blier addresses the history and meaning of Les Demoiselles d’Avignon in a 2019 book in a different way, one that draws on her African art expertise and an array of newly discovered sources she unearthed. Blier addresses the painting not as a simple bordello scene but as Picasso's interpretation of the diversity of women from around the world that Picasso encountered in part through photographs and sculptures seen in illustrated books. These representations, Blier argues, are central to understanding the painting's creation and help identify the demoiselles as global figures – mothers, grandmothers, lovers, and sisters, living the colonial world Picasso inhabited. She says that Picasso has reunited these diverse women together in this strange cave-like  setting as a kind of global "time machine" – each woman referencing a different era, place of origins, and concomitant artistic style, as part of the broader "ages of man" theme important to the new century, in which core themes of evolution took on an increasingly important role. The two men  depicted in some of the painting's earlier preparatory drawings, Blier suggests, likely represent the male authors of two of the illustrated books that Picasso employed – the anthropologist Leo Frobenius as sailor, one travels the world to. explore various ports of call and the Vienna medical doctor, Karl Heinrich Stratz who holds a human skull or book consistent with the detailed anatomical studies that he provides.Blier is able to date the painting to late March 1907 directly following the opening of the Salon des Independents where Matisse and Derain had exhibited their own bold, emotionally charged "origins"-themed tableaux. The large scale of the canvas, Blier says, complements the important scientific and historical theme. The reunion of the mothers of each "race" within this human evolutionary framework, Blier maintains, also constitutes the larger "philosophy" behind the painting's original le bordel philosophique title – evoking the potent "mess" and "complex situation"  that Picasso was exploring in this work. In contrast to Leo Steinberg and William Rubin who argued that Picasso had effaced the two right hand demoiselles to repaint their faces with African masks in response to a crisis stemming from larger fears of death or women, an early photograph of the painting in Picasso's studio, Blier shows, indicates that the artist had portrayed African masks on these women from the outset consistent with their identities as progenitors of these races. Blier argues that the painting was largely completed in a single night following a debate about philosophy with friends at a local Paris brasserie.

Prompt: アビニヨンの娘たちに焦点を当てて、その解釈を説明してください。英語で出力して下さい。

African art
Brothel
Cubism
Cubism
Leo Frobenius
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

Picasso drew each of the figures in Les Demoiselles differently. The woman pulling the curtain on the upper right is rendered with heavy paint. Composed of sharp geometric shapes, her head is the most strictly Cubist of all five. The curtain seems to blend partially into her body. The Cubist head of the crouching figure  underwent at least two revisions from an Iberian figure to its current state. She also seems to have been drawn from two different perspectives at once, creating a confusing, twisted figure. The woman above her is rather manly, with a dark face and square chest. The whole picture is in a two-dimensional style, with an abandoned perspective.Much of the critical debate that has taken place over the years centers on attempting to account for this multiplicity of styles within the work. The dominant understanding for over five decades, espoused most notably by Alfred Barr, the first director of the Museum of Modern Art in New York City and organizer of major career retrospectives for the artist, has been that it can be interpreted as evidence of a transitional period in Picasso's art, an effort to connect his earlier work to Cubism, the style he would help invent and develop over the next five or six years. Suzanne Preston Blier says that the divergent styles of the painting were added intentionally to convey to each women art "style" attributes from the five geographic areas each woman represents. interprets  as the provocation that led to Cubism:Art historian and professor Anna C. Chave agrees with Berger that Les Demoiselles d'Avignon can be taken as the catalyst for the style of Cubism in her 1994 article, New Encounters with Les Desmoiselles d'Avignon: Gender, Race, and the Origins of Cubism. Chave also gives an interesting new perspective on the piece in her article, that of a woman, which stands in stark contrast to the numerous other reviews of the painting provided by men. Additionally, her article focuses not only on the work itself but also on the critiques and assessments of it that have emerged in the decades since it was initially displayed, prompting readers to think deeply about what reactions to the painting say about viewers and society at large.In 1972, art critic Leo Steinberg in his essay The Philosophical Brothel posited a wholly different explanation for the wide range of stylistic attributes. Using the earlier sketches—which had been ignored by most critics—he argued that far from evidence of an artist undergoing a rapid stylistic metamorphosis, the variety of styles can be read as a deliberate attempt, a careful plan, to capture the gaze of the viewer. He notes that the five women all seem eerily disconnected, indeed wholly unaware of each other. Rather, they focus solely on the viewer, their divergent styles only furthering the intensity of their glare.A few years after writing The Philosophical Brothel, Steinberg wrote further about the revolutionary nature of Les Demoiselles:At the end of the first volume of his  three volume Picasso biography: A Life Of Picasso. The Prodigy, 1881–1906, John Richardson comments on Les Demoiselles. Richardson says:Suzanne Preston Blier addresses the history and meaning of Les Demoiselles d’Avignon in a 2019 book in a different way, one that draws on her African art expertise and an array of newly discovered sources she unearthed. Blier addresses the painting not as a simple bordello scene but as Picasso's interpretation of the diversity of women from around the world that Picasso encountered in part through photographs and sculptures seen in illustrated books. These representations, Blier argues, are central to understanding the painting's creation and help identify the demoiselles as global figures – mothers, grandmothers, lovers, and sisters, living the colonial world Picasso inhabited. She says that Picasso has reunited these diverse women together in this strange cave-like  setting as a kind of global "time machine" – each woman referencing a different era, place of origins, and concomitant artistic style, as part of the broader "ages of man" theme important to the new century, in which core themes of evolution took on an increasingly important role. The two men  depicted in some of the painting's earlier preparatory drawings, Blier suggests, likely represent the male authors of two of the illustrated books that Picasso employed – the anthropologist Leo Frobenius as sailor, one travels the world to. explore various ports of call and the Vienna medical doctor, Karl Heinrich Stratz who holds a human skull or book consistent with the detailed anatomical studies that he provides.Blier is able to date the painting to late March 1907 directly following the opening of the Salon des Independents where Matisse and Derain had exhibited their own bold, emotionally charged "origins"-themed tableaux. The large scale of the canvas, Blier says, complements the important scientific and historical theme. The reunion of the mothers of each "race" within this human evolutionary framework, Blier maintains, also constitutes the larger "philosophy" behind the painting's original le bordel philosophique title – evoking the potent "mess" and "complex situation"  that Picasso was exploring in this work. In contrast to Leo Steinberg and William Rubin who argued that Picasso had effaced the two right hand demoiselles to repaint their faces with African masks in response to a crisis stemming from larger fears of death or women, an early photograph of the painting in Picasso's studio, Blier shows, indicates that the artist had portrayed African masks on these women from the outset consistent with their identities as progenitors of these races. Blier argues that the painting was largely completed in a single night following a debate about philosophy with friends at a local Paris brasserie.

Prompt: アビニヨンの娘たちの解釈を説明してください。英語で出力して下さい。

African art
Brothel
Cubism
Cubism
Leo Frobenius
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

Picasso drew each of the figures in Les Demoiselles differently. The woman pulling the curtain on the upper right is rendered with heavy paint. Composed of sharp geometric shapes, her head is the most strictly Cubist of all five. The curtain seems to blend partially into her body. The Cubist head of the crouching figure  underwent at least two revisions from an Iberian figure to its current state. She also seems to have been drawn from two different perspectives at once, creating a confusing, twisted figure. The woman above her is rather manly, with a dark face and square chest. The whole picture is in a two-dimensional style, with an abandoned perspective.Much of the critical debate that has taken place over the years centers on attempting to account for this multiplicity of styles within the work. The dominant understanding for over five decades, espoused most notably by Alfred Barr, the first director of the Museum of Modern Art in New York City and organizer of major career retrospectives for the artist, has been that it can be interpreted as evidence of a transitional period in Picasso's art, an effort to connect his earlier work to Cubism, the style he would help invent and develop over the next five or six years. Suzanne Preston Blier says that the divergent styles of the painting were added intentionally to convey to each women art "style" attributes from the five geographic areas each woman represents. interprets  as the provocation that led to Cubism:Art historian and professor Anna C. Chave agrees with Berger that Les Demoiselles d'Avignon can be taken as the catalyst for the style of Cubism in her 1994 article, New Encounters with Les Desmoiselles d'Avignon: Gender, Race, and the Origins of Cubism. Chave also gives an interesting new perspective on the piece in her article, that of a woman, which stands in stark contrast to the numerous other reviews of the painting provided by men. Additionally, her article focuses not only on the work itself but also on the critiques and assessments of it that have emerged in the decades since it was initially displayed, prompting readers to think deeply about what reactions to the painting say about viewers and society at large.In 1972, art critic Leo Steinberg in his essay The Philosophical Brothel posited a wholly different explanation for the wide range of stylistic attributes. Using the earlier sketches—which had been ignored by most critics—he argued that far from evidence of an artist undergoing a rapid stylistic metamorphosis, the variety of styles can be read as a deliberate attempt, a careful plan, to capture the gaze of the viewer. He notes that the five women all seem eerily disconnected, indeed wholly unaware of each other. Rather, they focus solely on the viewer, their divergent styles only furthering the intensity of their glare.A few years after writing The Philosophical Brothel, Steinberg wrote further about the revolutionary nature of Les Demoiselles:At the end of the first volume of his  three volume Picasso biography: A Life Of Picasso. The Prodigy, 1881–1906, John Richardson comments on Les Demoiselles. Richardson says:Suzanne Preston Blier addresses the history and meaning of Les Demoiselles d’Avignon in a 2019 book in a different way, one that draws on her African art expertise and an array of newly discovered sources she unearthed. Blier addresses the painting not as a simple bordello scene but as Picasso's interpretation of the diversity of women from around the world that Picasso encountered in part through photographs and sculptures seen in illustrated books. These representations, Blier argues, are central to understanding the painting's creation and help identify the demoiselles as global figures – mothers, grandmothers, lovers, and sisters, living the colonial world Picasso inhabited. She says that Picasso has reunited these diverse women together in this strange cave-like  setting as a kind of global "time machine" – each woman referencing a different era, place of origins, and concomitant artistic style, as part of the broader "ages of man" theme important to the new century, in which core themes of evolution took on an increasingly important role. The two men  depicted in some of the painting's earlier preparatory drawings, Blier suggests, likely represent the male authors of two of the illustrated books that Picasso employed – the anthropologist Leo Frobenius as sailor, one travels the world to. explore various ports of call and the Vienna medical doctor, Karl Heinrich Stratz who holds a human skull or book consistent with the detailed anatomical studies that he provides.Blier is able to date the painting to late March 1907 directly following the opening of the Salon des Independents where Matisse and Derain had exhibited their own bold, emotionally charged "origins"-themed tableaux. The large scale of the canvas, Blier says, complements the important scientific and historical theme. The reunion of the mothers of each "race" within this human evolutionary framework, Blier maintains, also constitutes the larger "philosophy" behind the painting's original le bordel philosophique title – evoking the potent "mess" and "complex situation"  that Picasso was exploring in this work. In contrast to Leo Steinberg and William Rubin who argued that Picasso had effaced the two right hand demoiselles to repaint their faces with African masks in response to a crisis stemming from larger fears of death or women, an early photograph of the painting in Picasso's studio, Blier shows, indicates that the artist had portrayed African masks on these women from the outset consistent with their identities as progenitors of these races. Blier argues that the painting was largely completed in a single night following a debate about philosophy with friends at a local Paris brasserie.

Prompt: アビニヨンの娘たちはどのように解釈を説明していますか？英語で出力して下さい。

African art
Brothel
Cubism
Cubism
Leo Frobenius
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

Picasso drew each of the figures in Les Demoiselles differently. The woman pulling the curtain on the upper right is rendered with heavy paint. Composed of sharp geometric shapes, her head is the most strictly Cubist of all five. The curtain seems to blend partially into her body. The Cubist head of the crouching figure  underwent at least two revisions from an Iberian figure to its current state. She also seems to have been drawn from two different perspectives at once, creating a confusing, twisted figure. The woman above her is rather manly, with a dark face and square chest. The whole picture is in a two-dimensional style, with an abandoned perspective.Much of the critical debate that has taken place over the years centers on attempting to account for this multiplicity of styles within the work. The dominant understanding for over five decades, espoused most notably by Alfred Barr, the first director of the Museum of Modern Art in New York City and organizer of major career retrospectives for the artist, has been that it can be interpreted as evidence of a transitional period in Picasso's art, an effort to connect his earlier work to Cubism, the style he would help invent and develop over the next five or six years. Suzanne Preston Blier says that the divergent styles of the painting were added intentionally to convey to each women art "style" attributes from the five geographic areas each woman represents. interprets  as the provocation that led to Cubism:Art historian and professor Anna C. Chave agrees with Berger that Les Demoiselles d'Avignon can be taken as the catalyst for the style of Cubism in her 1994 article, New Encounters with Les Desmoiselles d'Avignon: Gender, Race, and the Origins of Cubism. Chave also gives an interesting new perspective on the piece in her article, that of a woman, which stands in stark contrast to the numerous other reviews of the painting provided by men. Additionally, her article focuses not only on the work itself but also on the critiques and assessments of it that have emerged in the decades since it was initially displayed, prompting readers to think deeply about what reactions to the painting say about viewers and society at large.In 1972, art critic Leo Steinberg in his essay The Philosophical Brothel posited a wholly different explanation for the wide range of stylistic attributes. Using the earlier sketches—which had been ignored by most critics—he argued that far from evidence of an artist undergoing a rapid stylistic metamorphosis, the variety of styles can be read as a deliberate attempt, a careful plan, to capture the gaze of the viewer. He notes that the five women all seem eerily disconnected, indeed wholly unaware of each other. Rather, they focus solely on the viewer, their divergent styles only furthering the intensity of their glare.A few years after writing The Philosophical Brothel, Steinberg wrote further about the revolutionary nature of Les Demoiselles:At the end of the first volume of his  three volume Picasso biography: A Life Of Picasso. The Prodigy, 1881–1906, John Richardson comments on Les Demoiselles. Richardson says:Suzanne Preston Blier addresses the history and meaning of Les Demoiselles d’Avignon in a 2019 book in a different way, one that draws on her African art expertise and an array of newly discovered sources she unearthed. Blier addresses the painting not as a simple bordello scene but as Picasso's interpretation of the diversity of women from around the world that Picasso encountered in part through photographs and sculptures seen in illustrated books. These representations, Blier argues, are central to understanding the painting's creation and help identify the demoiselles as global figures – mothers, grandmothers, lovers, and sisters, living the colonial world Picasso inhabited. She says that Picasso has reunited these diverse women together in this strange cave-like  setting as a kind of global "time machine" – each woman referencing a different era, place of origins, and concomitant artistic style, as part of the broader "ages of man" theme important to the new century, in which core themes of evolution took on an increasingly important role. The two men  depicted in some of the painting's earlier preparatory drawings, Blier suggests, likely represent the male authors of two of the illustrated books that Picasso employed – the anthropologist Leo Frobenius as sailor, one travels the world to. explore various ports of call and the Vienna medical doctor, Karl Heinrich Stratz who holds a human skull or book consistent with the detailed anatomical studies that he provides.Blier is able to date the painting to late March 1907 directly following the opening of the Salon des Independents where Matisse and Derain had exhibited their own bold, emotionally charged "origins"-themed tableaux. The large scale of the canvas, Blier says, complements the important scientific and historical theme. The reunion of the mothers of each "race" within this human evolutionary framework, Blier maintains, also constitutes the larger "philosophy" behind the painting's original le bordel philosophique title – evoking the potent "mess" and "complex situation"  that Picasso was exploring in this work. In contrast to Leo Steinberg and William Rubin who argued that Picasso had effaced the two right hand demoiselles to repaint their faces with African masks in response to a crisis stemming from larger fears of death or women, an early photograph of the painting in Picasso's studio, Blier shows, indicates that the artist had portrayed African masks on these women from the outset consistent with their identities as progenitors of these races. Blier argues that the painting was largely completed in a single night following a debate about philosophy with friends at a local Paris brasserie.

Prompt: アビニヨンの娘たちに関して、どのように解釈が議論されていますか？英語で出力して下さい。

African art
Brothel
Cubism
Cubism
Leo Frobenius
Leo Stein
Leo Steinberg


section

アビニヨンの娘たち

Jacques Doucet had seen the painting at the Salon d'Antin, yet remarkably seems to have purchased Les Demoiselles without asking Picasso to unroll it in his studio so that he could see it again.</blockquote>Ultimately, it seems Doucet paid 30,000 francs rather than the agreed price.The Museum of Modern Art in New York City mounted an important Picasso exhibition on 15 November 1939 that remained on view until 7 January 1940. The exhibition, entitled Picasso: 40 Years of His Art, was organized by Alfred H. Barr , in collaboration with the Art Institute of Chicago. The exhibition contained 344 works, including the major 1937 painting Guernica and its studies, as well as Les Demoiselles.

Prompt: アビニヨンの娘たちに焦点を当てて、その購入を説明してください。英語で出力して下さい。


section

アビニヨンの娘たち

Jacques Doucet had seen the painting at the Salon d'Antin, yet remarkably seems to have purchased Les Demoiselles without asking Picasso to unroll it in his studio so that he could see it again.</blockquote>Ultimately, it seems Doucet paid 30,000 francs rather than the agreed price.The Museum of Modern Art in New York City mounted an important Picasso exhibition on 15 November 1939 that remained on view until 7 January 1940. The exhibition, entitled Picasso: 40 Years of His Art, was organized by Alfred H. Barr , in collaboration with the Art Institute of Chicago. The exhibition contained 344 works, including the major 1937 painting Guernica and its studies, as well as Les Demoiselles.

Prompt: アビニヨンの娘たちの購入を説明してください。英語で出力して下さい。


section

アビニヨンの娘たち

Jacques Doucet had seen the painting at the Salon d'Antin, yet remarkably seems to have purchased Les Demoiselles without asking Picasso to unroll it in his studio so that he could see it again.</blockquote>Ultimately, it seems Doucet paid 30,000 francs rather than the agreed price.The Museum of Modern Art in New York City mounted an important Picasso exhibition on 15 November 1939 that remained on view until 7 January 1940. The exhibition, entitled Picasso: 40 Years of His Art, was organized by Alfred H. Barr , in collaboration with the Art Institute of Chicago. The exhibition contained 344 works, including the major 1937 painting Guernica and its studies, as well as Les Demoiselles.

Prompt: アビニヨンの娘たちはどのように購入を説明していますか？英語で出力して下さい。


section

アビニヨンの娘たち

Jacques Doucet had seen the painting at the Salon d'Antin, yet remarkably seems to have purchased Les Demoiselles without asking Picasso to unroll it in his studio so that he could see it again.</blockquote>Ultimately, it seems Doucet paid 30,000 francs rather than the agreed price.The Museum of Modern Art in New York City mounted an important Picasso exhibition on 15 November 1939 that remained on view until 7 January 1940. The exhibition, entitled Picasso: 40 Years of His Art, was organized by Alfred H. Barr , in collaboration with the Art Institute of Chicago. The exhibition contained 344 works, including the major 1937 painting Guernica and its studies, as well as Les Demoiselles.

Prompt: アビニヨンの娘たちに関して、どのように購入が議論されていますか？英語で出力して下さい。


section

アビニヨンの娘たち

In July 2007, Newsweek published a two-page article about  describing it as the "most influential work of art of the last 100 years". Art critic Holland Cotter argued that Picasso "changed history with this work. He'd replaced the benign ideal of the Classical nude with a new race of sexually armed and dangerous beings."The painting is prominently featured in the 1993 Steve Martin play Picasso at the pin Agile, about a fictional meeting of the young Picasso and Albert Einstein in a Paris cafe, and in the 2018 season of the television series Genius, which focuses on Picasso's life and work.

Prompt: アビニヨンの娘たちに焦点を当てて、その遺産を説明してください。英語で出力して下さい。


section

アビニヨンの娘たち

In July 2007, Newsweek published a two-page article about  describing it as the "most influential work of art of the last 100 years". Art critic Holland Cotter argued that Picasso "changed history with this work. He'd replaced the benign ideal of the Classical nude with a new race of sexually armed and dangerous beings."The painting is prominently featured in the 1993 Steve Martin play Picasso at the pin Agile, about a fictional meeting of the young Picasso and Albert Einstein in a Paris cafe, and in the 2018 season of the television series Genius, which focuses on Picasso's life and work.

Prompt: アビニヨンの娘たちの遺産を説明してください。英語で出力して下さい。


section

アビニヨンの娘たち

In July 2007, Newsweek published a two-page article about  describing it as the "most influential work of art of the last 100 years". Art critic Holland Cotter argued that Picasso "changed history with this work. He'd replaced the benign ideal of the Classical nude with a new race of sexually armed and dangerous beings."The painting is prominently featured in the 1993 Steve Martin play Picasso at the pin Agile, about a fictional meeting of the young Picasso and Albert Einstein in a Paris cafe, and in the 2018 season of the television series Genius, which focuses on Picasso's life and work.

Prompt: アビニヨンの娘たちはどのように遺産を説明していますか？英語で出力して下さい。


section

アビニヨンの娘たち

In July 2007, Newsweek published a two-page article about  describing it as the "most influential work of art of the last 100 years". Art critic Holland Cotter argued that Picasso "changed history with this work. He'd replaced the benign ideal of the Classical nude with a new race of sexually armed and dangerous beings."The painting is prominently featured in the 1993 Steve Martin play Picasso at the pin Agile, about a fictional meeting of the young Picasso and Albert Einstein in a Paris cafe, and in the 2018 season of the television series Genius, which focuses on Picasso's life and work.

Prompt: アビニヨンの娘たちに関して、どのように遺産が議論されていますか？英語で出力して下さい。


section

アビニヨンの娘たち

In 2003, an examination of the painting by x-ray fluorescence spectroscopy performed by conservators at the Museum of Modern Art confirmed the presence of the following pigments: lead white, bone black, vermilion, cadmium yellow, cobalt blue, emerald green, and native earth pigments  that contain iron.

Prompt: アビニヨンの娘たちに焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。


section

アビニヨンの娘たち

In 2003, an examination of the painting by x-ray fluorescence spectroscopy performed by conservators at the Museum of Modern Art confirmed the presence of the following pigments: lead white, bone black, vermilion, cadmium yellow, cobalt blue, emerald green, and native earth pigments  that contain iron.

Prompt: アビニヨンの娘たちの絵画材料を説明してください。英語で出力して下さい。


section

アビニヨンの娘たち

In 2003, an examination of the painting by x-ray fluorescence spectroscopy performed by conservators at the Museum of Modern Art confirmed the presence of the following pigments: lead white, bone black, vermilion, cadmium yellow, cobalt blue, emerald green, and native earth pigments  that contain iron.

Prompt: アビニヨンの娘たちはどのように絵画材料を説明していますか？英語で出力して下さい。


section

アビニヨンの娘たち

In 2003, an examination of the painting by x-ray fluorescence spectroscopy performed by conservators at the Museum of Modern Art confirmed the presence of the following pigments: lead white, bone black, vermilion, cadmium yellow, cobalt blue, emerald green, and native earth pigments  that contain iron.

Prompt: アビニヨンの娘たちに関して、どのように絵画材料が議論されていますか？英語で出力して下さい。


section

アビニヨンの娘たち

Blier, Suzanne Preston. "Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece." Durham, N.C.: Duke University Press. 2019. Blunt, Anthony & Pool, Phoebe. Picasso, the Formative Years: A Study of His Sources. Graphic Society, 1962. Cooper, Douglas. The Cubist Epoch. Phaidon Press, in association with the Los Angeles County Museum of Art and the Metropolitan Museum of Art, 1970.  Edwards, Steve & Wood, Paul. Art of the Avant-Gardes: Art of the Twentieth Century. New Haven: Yale University Press, 2004.  Everdell, William R., Pablo Picasso: Seeing All Sides in The First Moderns, Chicago: University of Chicago Press, 1997 Fluegel, Jane. Chronology. In: Pablo Picasso, Museum of Modern Art , 1980. William Rubin .  Franck, Dan. Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art. Grove Press, 2003.  Golding, John. The Demoiselles d'Avignon. The Burlington Magazine, vol. 100, no. 662 : 155–163. Green, Christopher. Picasso: Architecture and Vertigo. New Haven: Yale University Press, 2005.  Green, Christopher, ed. Picasso's Les Demoiselles D'Avignon. Cambridge University Press, 2001.   Klüver, Billy. A Day with Picasso. The MIT Press, 1999.  Kramer, Hilton,The Triumph of Modernism: The Art World, 1985–2005. Rowman & Littlefield, 2006.  Leighton, Patricia. The White Peril and L'Art nègre: Picasso, Primitivism, and Anticolonialism. In Race-ing Art History. Kymberly N. Pinder, editor, Routledge, New York, 2002, pp. 233–260. . In  Lemke, Sieglinde. Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism. Oxford: Oxford University Press, 1998.  Lubar, Robert. "Narrating the Nation: Picasso and the Myth of El Greco", in Brown, Jonathan, ed., Picasso and the Spanish Tradition. New Haven, Connecticut: Yale University Press, 1996. Nochlin, Linda. "The Vanishing Brothel", in London Review of Books, Vol. 19, No. 5, 6 March 1997. Richardson John. A Life of Picasso: The Prodigy, 1881–1906. New York: Alfred A. Knopf, 1991.  Richardson, John. A Life of Picasso: The Cubist Rebel 1907–1916. New York: Alfred A. Knopf, 2007.  Richardson, John. A Life of Picasso: The Triumphant Years, 1917–1932. New York: Alfred A. Knopf, 2007.  Rubin, William. Pablo Picasso: A Retrospective. MoMA, 1980.  Rubin, William. Picasso and Braque: Pioneering Cubism. HNA Books, 1989.  Rubin, William. . MoMA, 1994.  Rubin, William, Hélène Seckel & Judith Cousins, , NY: Museum of Modern Art/Abrams, 1995 Sweetman, David. Paul Gauguin: A Life. New York: Simon & Schuster, 1995.

Prompt: アビニヨンの娘たちに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。

Brothel
Cubism
Cubism
El Greco
Paul Gauguin


section

アビニヨンの娘たち

Blier, Suzanne Preston. "Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece." Durham, N.C.: Duke University Press. 2019. Blunt, Anthony & Pool, Phoebe. Picasso, the Formative Years: A Study of His Sources. Graphic Society, 1962. Cooper, Douglas. The Cubist Epoch. Phaidon Press, in association with the Los Angeles County Museum of Art and the Metropolitan Museum of Art, 1970.  Edwards, Steve & Wood, Paul. Art of the Avant-Gardes: Art of the Twentieth Century. New Haven: Yale University Press, 2004.  Everdell, William R., Pablo Picasso: Seeing All Sides in The First Moderns, Chicago: University of Chicago Press, 1997 Fluegel, Jane. Chronology. In: Pablo Picasso, Museum of Modern Art , 1980. William Rubin .  Franck, Dan. Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art. Grove Press, 2003.  Golding, John. The Demoiselles d'Avignon. The Burlington Magazine, vol. 100, no. 662 : 155–163. Green, Christopher. Picasso: Architecture and Vertigo. New Haven: Yale University Press, 2005.  Green, Christopher, ed. Picasso's Les Demoiselles D'Avignon. Cambridge University Press, 2001.   Klüver, Billy. A Day with Picasso. The MIT Press, 1999.  Kramer, Hilton,The Triumph of Modernism: The Art World, 1985–2005. Rowman & Littlefield, 2006.  Leighton, Patricia. The White Peril and L'Art nègre: Picasso, Primitivism, and Anticolonialism. In Race-ing Art History. Kymberly N. Pinder, editor, Routledge, New York, 2002, pp. 233–260. . In  Lemke, Sieglinde. Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism. Oxford: Oxford University Press, 1998.  Lubar, Robert. "Narrating the Nation: Picasso and the Myth of El Greco", in Brown, Jonathan, ed., Picasso and the Spanish Tradition. New Haven, Connecticut: Yale University Press, 1996. Nochlin, Linda. "The Vanishing Brothel", in London Review of Books, Vol. 19, No. 5, 6 March 1997. Richardson John. A Life of Picasso: The Prodigy, 1881–1906. New York: Alfred A. Knopf, 1991.  Richardson, John. A Life of Picasso: The Cubist Rebel 1907–1916. New York: Alfred A. Knopf, 2007.  Richardson, John. A Life of Picasso: The Triumphant Years, 1917–1932. New York: Alfred A. Knopf, 2007.  Rubin, William. Pablo Picasso: A Retrospective. MoMA, 1980.  Rubin, William. Picasso and Braque: Pioneering Cubism. HNA Books, 1989.  Rubin, William. . MoMA, 1994.  Rubin, William, Hélène Seckel & Judith Cousins, , NY: Museum of Modern Art/Abrams, 1995 Sweetman, David. Paul Gauguin: A Life. New York: Simon & Schuster, 1995.

Prompt: アビニヨンの娘たちの参考文献を説明してください。英語で出力して下さい。

Brothel
Cubism
Cubism
El Greco
Paul Gauguin


section

アビニヨンの娘たち

Blier, Suzanne Preston. "Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece." Durham, N.C.: Duke University Press. 2019. Blunt, Anthony & Pool, Phoebe. Picasso, the Formative Years: A Study of His Sources. Graphic Society, 1962. Cooper, Douglas. The Cubist Epoch. Phaidon Press, in association with the Los Angeles County Museum of Art and the Metropolitan Museum of Art, 1970.  Edwards, Steve & Wood, Paul. Art of the Avant-Gardes: Art of the Twentieth Century. New Haven: Yale University Press, 2004.  Everdell, William R., Pablo Picasso: Seeing All Sides in The First Moderns, Chicago: University of Chicago Press, 1997 Fluegel, Jane. Chronology. In: Pablo Picasso, Museum of Modern Art , 1980. William Rubin .  Franck, Dan. Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art. Grove Press, 2003.  Golding, John. The Demoiselles d'Avignon. The Burlington Magazine, vol. 100, no. 662 : 155–163. Green, Christopher. Picasso: Architecture and Vertigo. New Haven: Yale University Press, 2005.  Green, Christopher, ed. Picasso's Les Demoiselles D'Avignon. Cambridge University Press, 2001.   Klüver, Billy. A Day with Picasso. The MIT Press, 1999.  Kramer, Hilton,The Triumph of Modernism: The Art World, 1985–2005. Rowman & Littlefield, 2006.  Leighton, Patricia. The White Peril and L'Art nègre: Picasso, Primitivism, and Anticolonialism. In Race-ing Art History. Kymberly N. Pinder, editor, Routledge, New York, 2002, pp. 233–260. . In  Lemke, Sieglinde. Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism. Oxford: Oxford University Press, 1998.  Lubar, Robert. "Narrating the Nation: Picasso and the Myth of El Greco", in Brown, Jonathan, ed., Picasso and the Spanish Tradition. New Haven, Connecticut: Yale University Press, 1996. Nochlin, Linda. "The Vanishing Brothel", in London Review of Books, Vol. 19, No. 5, 6 March 1997. Richardson John. A Life of Picasso: The Prodigy, 1881–1906. New York: Alfred A. Knopf, 1991.  Richardson, John. A Life of Picasso: The Cubist Rebel 1907–1916. New York: Alfred A. Knopf, 2007.  Richardson, John. A Life of Picasso: The Triumphant Years, 1917–1932. New York: Alfred A. Knopf, 2007.  Rubin, William. Pablo Picasso: A Retrospective. MoMA, 1980.  Rubin, William. Picasso and Braque: Pioneering Cubism. HNA Books, 1989.  Rubin, William. . MoMA, 1994.  Rubin, William, Hélène Seckel & Judith Cousins, , NY: Museum of Modern Art/Abrams, 1995 Sweetman, David. Paul Gauguin: A Life. New York: Simon & Schuster, 1995.

Prompt: アビニヨンの娘たちはどのように参考文献を説明していますか？英語で出力して下さい。

Brothel
Cubism
Cubism
El Greco
Paul Gauguin


section

アビニヨンの娘たち

Blier, Suzanne Preston. "Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece." Durham, N.C.: Duke University Press. 2019. Blunt, Anthony & Pool, Phoebe. Picasso, the Formative Years: A Study of His Sources. Graphic Society, 1962. Cooper, Douglas. The Cubist Epoch. Phaidon Press, in association with the Los Angeles County Museum of Art and the Metropolitan Museum of Art, 1970.  Edwards, Steve & Wood, Paul. Art of the Avant-Gardes: Art of the Twentieth Century. New Haven: Yale University Press, 2004.  Everdell, William R., Pablo Picasso: Seeing All Sides in The First Moderns, Chicago: University of Chicago Press, 1997 Fluegel, Jane. Chronology. In: Pablo Picasso, Museum of Modern Art , 1980. William Rubin .  Franck, Dan. Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art. Grove Press, 2003.  Golding, John. The Demoiselles d'Avignon. The Burlington Magazine, vol. 100, no. 662 : 155–163. Green, Christopher. Picasso: Architecture and Vertigo. New Haven: Yale University Press, 2005.  Green, Christopher, ed. Picasso's Les Demoiselles D'Avignon. Cambridge University Press, 2001.   Klüver, Billy. A Day with Picasso. The MIT Press, 1999.  Kramer, Hilton,The Triumph of Modernism: The Art World, 1985–2005. Rowman & Littlefield, 2006.  Leighton, Patricia. The White Peril and L'Art nègre: Picasso, Primitivism, and Anticolonialism. In Race-ing Art History. Kymberly N. Pinder, editor, Routledge, New York, 2002, pp. 233–260. . In  Lemke, Sieglinde. Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism. Oxford: Oxford University Press, 1998.  Lubar, Robert. "Narrating the Nation: Picasso and the Myth of El Greco", in Brown, Jonathan, ed., Picasso and the Spanish Tradition. New Haven, Connecticut: Yale University Press, 1996. Nochlin, Linda. "The Vanishing Brothel", in London Review of Books, Vol. 19, No. 5, 6 March 1997. Richardson John. A Life of Picasso: The Prodigy, 1881–1906. New York: Alfred A. Knopf, 1991.  Richardson, John. A Life of Picasso: The Cubist Rebel 1907–1916. New York: Alfred A. Knopf, 2007.  Richardson, John. A Life of Picasso: The Triumphant Years, 1917–1932. New York: Alfred A. Knopf, 2007.  Rubin, William. Pablo Picasso: A Retrospective. MoMA, 1980.  Rubin, William. Picasso and Braque: Pioneering Cubism. HNA Books, 1989.  Rubin, William. . MoMA, 1994.  Rubin, William, Hélène Seckel & Judith Cousins, , NY: Museum of Modern Art/Abrams, 1995 Sweetman, David. Paul Gauguin: A Life. New York: Simon & Schuster, 1995.

Prompt: アビニヨンの娘たちに関して、どのように参考文献が議論されていますか？英語で出力して下さい。

Brothel
Cubism
Cubism
El Greco
Paul Gauguin


subsection

アビニヨンの娘たち

In 1907, when Picasso began work on Les Demoiselles, one of the old master painters he greatly admired was El Greco , who at the time was largely obscure and under-appreciated. Picasso's friend Ignacio Zuloaga  acquired El Greco's masterpiece, the Opening of the Fifth Seal, in 1897 for 1000 pesetas. The relation between  and the Opening of the Fifth Seal was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs and visually identifying qualities of both works were analyzed.El Greco's painting, which Picasso studied repeatedly in Zuloaga's house, inspired not only the size, format, and composition of , but also its apocalyptic power. ter, speaking of the work to Dor de la Souchère in Antibes, Picasso said: "In any case, only the execution counts. From this point of view, it is correct to say that Cubism has a Spanish origin and that I invented Cubism. We must look for the Spanish influence in Cézanne. Things themselves necessitate it, the influence of El Greco, a Venetian painter, on him. But his structure is Cubist."The relationship of the painting to other group portraits in the Western tradition, such as Diana and Callisto by Titian , and the same subject by Rubens , in the Prado, has also been discussed.

Prompt: アビニヨンの娘たちの文脈で、エル・グレコと影響を説明してください。英語で出力して下さい。

Cubism
Cubism
Diana and Callisto
El Greco
Ignacio Zuloaga


subsection

アビニヨンの娘たち

In 1907, when Picasso began work on Les Demoiselles, one of the old master painters he greatly admired was El Greco , who at the time was largely obscure and under-appreciated. Picasso's friend Ignacio Zuloaga  acquired El Greco's masterpiece, the Opening of the Fifth Seal, in 1897 for 1000 pesetas. The relation between  and the Opening of the Fifth Seal was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs and visually identifying qualities of both works were analyzed.El Greco's painting, which Picasso studied repeatedly in Zuloaga's house, inspired not only the size, format, and composition of , but also its apocalyptic power. ter, speaking of the work to Dor de la Souchère in Antibes, Picasso said: "In any case, only the execution counts. From this point of view, it is correct to say that Cubism has a Spanish origin and that I invented Cubism. We must look for the Spanish influence in Cézanne. Things themselves necessitate it, the influence of El Greco, a Venetian painter, on him. But his structure is Cubist."The relationship of the painting to other group portraits in the Western tradition, such as Diana and Callisto by Titian , and the same subject by Rubens , in the Prado, has also been discussed.

Prompt: アビニヨンの娘たちの影響に関するエル・グレコを説明してください。英語で出力して下さい。

Cubism
Cubism
Diana and Callisto
El Greco
Ignacio Zuloaga


subsection

アビニヨンの娘たち

In 1907, when Picasso began work on Les Demoiselles, one of the old master painters he greatly admired was El Greco , who at the time was largely obscure and under-appreciated. Picasso's friend Ignacio Zuloaga  acquired El Greco's masterpiece, the Opening of the Fifth Seal, in 1897 for 1000 pesetas. The relation between  and the Opening of the Fifth Seal was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs and visually identifying qualities of both works were analyzed.El Greco's painting, which Picasso studied repeatedly in Zuloaga's house, inspired not only the size, format, and composition of , but also its apocalyptic power. ter, speaking of the work to Dor de la Souchère in Antibes, Picasso said: "In any case, only the execution counts. From this point of view, it is correct to say that Cubism has a Spanish origin and that I invented Cubism. We must look for the Spanish influence in Cézanne. Things themselves necessitate it, the influence of El Greco, a Venetian painter, on him. But his structure is Cubist."The relationship of the painting to other group portraits in the Western tradition, such as Diana and Callisto by Titian , and the same subject by Rubens , in the Prado, has also been discussed.

Prompt: アビニヨンの娘たちでは、どのように影響のエル・グレコが説明されていますか？英語で出力して下さい。

Cubism
Cubism
Diana and Callisto
El Greco
Ignacio Zuloaga


subsection

アビニヨンの娘たち

In 1907, when Picasso began work on Les Demoiselles, one of the old master painters he greatly admired was El Greco , who at the time was largely obscure and under-appreciated. Picasso's friend Ignacio Zuloaga  acquired El Greco's masterpiece, the Opening of the Fifth Seal, in 1897 for 1000 pesetas. The relation between  and the Opening of the Fifth Seal was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs and visually identifying qualities of both works were analyzed.El Greco's painting, which Picasso studied repeatedly in Zuloaga's house, inspired not only the size, format, and composition of , but also its apocalyptic power. ter, speaking of the work to Dor de la Souchère in Antibes, Picasso said: "In any case, only the execution counts. From this point of view, it is correct to say that Cubism has a Spanish origin and that I invented Cubism. We must look for the Spanish influence in Cézanne. Things themselves necessitate it, the influence of El Greco, a Venetian painter, on him. But his structure is Cubist."The relationship of the painting to other group portraits in the Western tradition, such as Diana and Callisto by Titian , and the same subject by Rubens , in the Prado, has also been discussed.

Prompt: アビニヨンの娘たちの影響におけるエル・グレコの特徴を説明してください。英語で出力して下さい。

Cubism
Cubism
Diana and Callisto
El Greco
Ignacio Zuloaga


subsection

アビニヨンの娘たち

Both Paul Gauguin  and Paul Cézanne  were accorded major posthumous retrospective exhibitions at the Salon d'Automne in Paris between 1903 and 1907, and both were important influences on Picasso and instrumental to his creation of Les Demoiselles. According to the English art historian, collector and author of The Cubist Epoch, Douglas Cooper, both of those artists were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907. Cooper goes on to say however Les Demoiselles is often erroneously referred to as the first Cubist painting. He explains,Although not well known to the general public prior to 1906, Cézanne's reputation was highly regarded in avant-garde circles, as evidenced by Ambroise Vollard's interest in showing and collecting his work, and by Leo Stein's interest. Picasso was familiar with much of Cézanne's work that he saw at Vollard's gallery and at the Stein's. After Cézanne died in 1906, his paintings were exhibited in Paris in a large scale museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly impacted the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism. The 1907 Cézanne exhibition was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in Paris.Both Picasso and Braque found the inspiration for their proto-Cubist works in Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones. Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Robert Delaunay, Le Fauconnier, Gris and others to experiment with ever more complex multiple views of the same subject, and, eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art.

Prompt: アビニヨンの娘たちの文脈で、セザンヌとキュビスムと影響を説明してください。英語で出力して下さい。

Ambroise Vollard
Cubism
Cubism
Paul Cézanne
Paul Gauguin
Leo Stein


subsection

アビニヨンの娘たち

Both Paul Gauguin  and Paul Cézanne  were accorded major posthumous retrospective exhibitions at the Salon d'Automne in Paris between 1903 and 1907, and both were important influences on Picasso and instrumental to his creation of Les Demoiselles. According to the English art historian, collector and author of The Cubist Epoch, Douglas Cooper, both of those artists were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907. Cooper goes on to say however Les Demoiselles is often erroneously referred to as the first Cubist painting. He explains,Although not well known to the general public prior to 1906, Cézanne's reputation was highly regarded in avant-garde circles, as evidenced by Ambroise Vollard's interest in showing and collecting his work, and by Leo Stein's interest. Picasso was familiar with much of Cézanne's work that he saw at Vollard's gallery and at the Stein's. After Cézanne died in 1906, his paintings were exhibited in Paris in a large scale museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly impacted the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism. The 1907 Cézanne exhibition was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in Paris.Both Picasso and Braque found the inspiration for their proto-Cubist works in Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones. Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Robert Delaunay, Le Fauconnier, Gris and others to experiment with ever more complex multiple views of the same subject, and, eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art.

Prompt: アビニヨンの娘たちの影響に関するセザンヌとキュビスムを説明してください。英語で出力して下さい。

Ambroise Vollard
Cubism
Cubism
Paul Cézanne
Paul Gauguin
Leo Stein


subsection

アビニヨンの娘たち

Both Paul Gauguin  and Paul Cézanne  were accorded major posthumous retrospective exhibitions at the Salon d'Automne in Paris between 1903 and 1907, and both were important influences on Picasso and instrumental to his creation of Les Demoiselles. According to the English art historian, collector and author of The Cubist Epoch, Douglas Cooper, both of those artists were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907. Cooper goes on to say however Les Demoiselles is often erroneously referred to as the first Cubist painting. He explains,Although not well known to the general public prior to 1906, Cézanne's reputation was highly regarded in avant-garde circles, as evidenced by Ambroise Vollard's interest in showing and collecting his work, and by Leo Stein's interest. Picasso was familiar with much of Cézanne's work that he saw at Vollard's gallery and at the Stein's. After Cézanne died in 1906, his paintings were exhibited in Paris in a large scale museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly impacted the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism. The 1907 Cézanne exhibition was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in Paris.Both Picasso and Braque found the inspiration for their proto-Cubist works in Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones. Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Robert Delaunay, Le Fauconnier, Gris and others to experiment with ever more complex multiple views of the same subject, and, eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art.

Prompt: アビニヨンの娘たちでは、どのように影響のセザンヌとキュビスムが説明されていますか？英語で出力して下さい。

Ambroise Vollard
Cubism
Cubism
Paul Cézanne
Paul Gauguin
Leo Stein


subsection

アビニヨンの娘たち

Both Paul Gauguin  and Paul Cézanne  were accorded major posthumous retrospective exhibitions at the Salon d'Automne in Paris between 1903 and 1907, and both were important influences on Picasso and instrumental to his creation of Les Demoiselles. According to the English art historian, collector and author of The Cubist Epoch, Douglas Cooper, both of those artists were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907. Cooper goes on to say however Les Demoiselles is often erroneously referred to as the first Cubist painting. He explains,Although not well known to the general public prior to 1906, Cézanne's reputation was highly regarded in avant-garde circles, as evidenced by Ambroise Vollard's interest in showing and collecting his work, and by Leo Stein's interest. Picasso was familiar with much of Cézanne's work that he saw at Vollard's gallery and at the Stein's. After Cézanne died in 1906, his paintings were exhibited in Paris in a large scale museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly impacted the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism. The 1907 Cézanne exhibition was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in Paris.Both Picasso and Braque found the inspiration for their proto-Cubist works in Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones. Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Robert Delaunay, Le Fauconnier, Gris and others to experiment with ever more complex multiple views of the same subject, and, eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art.

Prompt: アビニヨンの娘たちの影響におけるセザンヌとキュビスムの特徴を説明してください。英語で出力して下さい。

Ambroise Vollard
Cubism
Cubism
Paul Cézanne
Paul Gauguin
Leo Stein


subsection

アビニヨンの娘たち

Both David Sweetman and John Richardson point to Gauguin's Oviri , a gruesome phallic representation of the Tahitian goddess of life and death intended for Gauguin's grave. First exhibited in the 1906 retrospective, it was likely a direct influence on Les Demoiselles. Sweetman writes,According to Richardson,

Prompt: アビニヨンの娘たちの文脈で、ゴーギャンと原始主義と影響を説明してください。英語で出力して下さい。


subsection

アビニヨンの娘たち

Both David Sweetman and John Richardson point to Gauguin's Oviri , a gruesome phallic representation of the Tahitian goddess of life and death intended for Gauguin's grave. First exhibited in the 1906 retrospective, it was likely a direct influence on Les Demoiselles. Sweetman writes,According to Richardson,

Prompt: アビニヨンの娘たちの影響に関するゴーギャンと原始主義を説明してください。英語で出力して下さい。


subsection

アビニヨンの娘たち

Both David Sweetman and John Richardson point to Gauguin's Oviri , a gruesome phallic representation of the Tahitian goddess of life and death intended for Gauguin's grave. First exhibited in the 1906 retrospective, it was likely a direct influence on Les Demoiselles. Sweetman writes,According to Richardson,

Prompt: アビニヨンの娘たちでは、どのように影響のゴーギャンと原始主義が説明されていますか？英語で出力して下さい。


subsection

アビニヨンの娘たち

Both David Sweetman and John Richardson point to Gauguin's Oviri , a gruesome phallic representation of the Tahitian goddess of life and death intended for Gauguin's grave. First exhibited in the 1906 retrospective, it was likely a direct influence on Les Demoiselles. Sweetman writes,According to Richardson,

Prompt: アビニヨンの娘たちの影響におけるゴーギャンと原始主義の特徴を説明してください。英語で出力して下さい。


subsection

アビニヨンの娘たち

. }}During the 19th and 20th centuries, Europe's colonization of Africa led to many economic, social, political, and even artistic encounters. From these encounters, Western visual artists became increasingly interested in the unique forms of African art, particularly masks from the Niger-Congo region. In an essay by Dennis Duerden, author of African Art , The Invisible Present , and a former director of the BBC World Service, the mask is defined as "very often a complete head-dress and not just that part that conceals the face". This form of visual art and image appealed to Western visual artists, leading to what Duerden calls the "discovery" of African art by Western practitioners, including Picasso.The stylistic sources for the heads of the women and their degree of influence has been much discussed and debated, in particular the influence of African tribal masks, art of Oceania, and pre-Roman Iberian sculptures. The rounded contours of the features of the three women to the left can be related to Iberian sculpture, but not obviously the fragmented planes of the two on the right, which indeed seem influenced by African masks. wrence Weschler says that, <blockquote>in many ways, much of the moldering cultural and even scientific ferment that characterized the first decade and a half of the twentieth century and that laid the foundations for much of what we today consider modern can be traced back to ways in which Europe was already wrestling with its bad-faith, often strenuously repressed, knowledge of what it had been doing in Africa. The example of Picasso virtually launching cubism with his 1907 Desmoiselles d’Avignon, in response to the sorts of African masks and other colonial booty he was encountering in Paris’s Musee de l’Homme, is obvious. this is belied by his deep interest in the African sculptures owned by Matisse and his close friend Guiliaume Apollinaire. Some Iberian reliefs from Osuna, then only recently excavated, were on display in the Louvre from 1904. Archaic Greek sculpture has also been claimed as an influence.Contentions about the influence of African sculpture were fueled in 1939 when Alfred Barr said the primitivism of the Demoiselles derived from the art of Côte d'Ivoire and the French Congo. Picasso subsequently insisted his catalogue raissonne’s editor Christian Zervos publish a disclaimer in which Picasso certified that he was not aware of African art until after Demoiselles was completed, but that he had instead drawn from Iberian art he had seen a year or so earlier, in particular from the Louvre’s Osuna reliefs. Contradictingly, in 1944 Picasso recounted seeing African art and being greatly moved by it during Demoiselles’  creation, adding that the experience was revelatory and a pivotal moment in the painting’s formulation. To Andre Malraux he said the revelations of African sculpture came to him from visiting to the Ethnographic Museum of the Trocadero. As Picasso recalled, "When I went to the Trocadero, it was disgusting. The flea market, the smell. I was all alone. I wanted to get away, but I didn't leave. I stayed, I stayed. I understood that it was very important. Something was happening to me, right. The masks weren't like any other pieces of sculpture, not at all. They were magic things." Maurice de Vlaminck is often credited with introducing Picasso to African sculpture of Fang extraction in 1904.Picasso biographer John Richardson recounts in A Life of Picasso, The Cubist Rebel 1907–1916 art dealer Daniel-Henry Kahnweiler's recollection of his first visit to Picasso's studio in July 1907. Kahnweiler remembers seeing "dusty stacks of canvases" in Picasso's studio and "African sculptures of majestic severity". Richardson comments: "so much for Picasso's story that he was not yet aware of Tribal art.'" A photograph of Picasso in his studio surrounded by African sculptures c.1908, is found on page 27 of that same volume.Suzanne Preston Blier says that, like Gauguin and several other artists in this era, Picasso used illustrated books for many of his preliminary studies for this painting. In addition to the Frobenius book, his sources included a 1906 publication of a twelfth-century Medieval art manuscript on architectural sculpture by Villiard de Honnecourt and a book by Carl Heinrich Stratz of pseudo-pornography showing photos and drawings of women from around the world organized to evoke ideas of human origins and evolution. Blier suggests that this helps account for the diversity of styles Picasso employed in his image-filled sketchbooks for this painting. These books, and other sources such as cartoons, Blier writes, also offer hints as to the larger meaning of this painting.

Prompt: アビニヨンの娘たちの文脈で、アフリカ美術、イベリア美術と影響を説明してください。英語で出力して下さい。

African art
BBC
BBC World Service
Carl Heinrich Stratz
Christian Zervos
Daniel-Henry Kahnweiler
Iberian sculpture
Louvre


subsection

アビニヨンの娘たち

. }}During the 19th and 20th centuries, Europe's colonization of Africa led to many economic, social, political, and even artistic encounters. From these encounters, Western visual artists became increasingly interested in the unique forms of African art, particularly masks from the Niger-Congo region. In an essay by Dennis Duerden, author of African Art , The Invisible Present , and a former director of the BBC World Service, the mask is defined as "very often a complete head-dress and not just that part that conceals the face". This form of visual art and image appealed to Western visual artists, leading to what Duerden calls the "discovery" of African art by Western practitioners, including Picasso.The stylistic sources for the heads of the women and their degree of influence has been much discussed and debated, in particular the influence of African tribal masks, art of Oceania, and pre-Roman Iberian sculptures. The rounded contours of the features of the three women to the left can be related to Iberian sculpture, but not obviously the fragmented planes of the two on the right, which indeed seem influenced by African masks. wrence Weschler says that, <blockquote>in many ways, much of the moldering cultural and even scientific ferment that characterized the first decade and a half of the twentieth century and that laid the foundations for much of what we today consider modern can be traced back to ways in which Europe was already wrestling with its bad-faith, often strenuously repressed, knowledge of what it had been doing in Africa. The example of Picasso virtually launching cubism with his 1907 Desmoiselles d’Avignon, in response to the sorts of African masks and other colonial booty he was encountering in Paris’s Musee de l’Homme, is obvious. this is belied by his deep interest in the African sculptures owned by Matisse and his close friend Guiliaume Apollinaire. Some Iberian reliefs from Osuna, then only recently excavated, were on display in the Louvre from 1904. Archaic Greek sculpture has also been claimed as an influence.Contentions about the influence of African sculpture were fueled in 1939 when Alfred Barr said the primitivism of the Demoiselles derived from the art of Côte d'Ivoire and the French Congo. Picasso subsequently insisted his catalogue raissonne’s editor Christian Zervos publish a disclaimer in which Picasso certified that he was not aware of African art until after Demoiselles was completed, but that he had instead drawn from Iberian art he had seen a year or so earlier, in particular from the Louvre’s Osuna reliefs. Contradictingly, in 1944 Picasso recounted seeing African art and being greatly moved by it during Demoiselles’  creation, adding that the experience was revelatory and a pivotal moment in the painting’s formulation. To Andre Malraux he said the revelations of African sculpture came to him from visiting to the Ethnographic Museum of the Trocadero. As Picasso recalled, "When I went to the Trocadero, it was disgusting. The flea market, the smell. I was all alone. I wanted to get away, but I didn't leave. I stayed, I stayed. I understood that it was very important. Something was happening to me, right. The masks weren't like any other pieces of sculpture, not at all. They were magic things." Maurice de Vlaminck is often credited with introducing Picasso to African sculpture of Fang extraction in 1904.Picasso biographer John Richardson recounts in A Life of Picasso, The Cubist Rebel 1907–1916 art dealer Daniel-Henry Kahnweiler's recollection of his first visit to Picasso's studio in July 1907. Kahnweiler remembers seeing "dusty stacks of canvases" in Picasso's studio and "African sculptures of majestic severity". Richardson comments: "so much for Picasso's story that he was not yet aware of Tribal art.'" A photograph of Picasso in his studio surrounded by African sculptures c.1908, is found on page 27 of that same volume.Suzanne Preston Blier says that, like Gauguin and several other artists in this era, Picasso used illustrated books for many of his preliminary studies for this painting. In addition to the Frobenius book, his sources included a 1906 publication of a twelfth-century Medieval art manuscript on architectural sculpture by Villiard de Honnecourt and a book by Carl Heinrich Stratz of pseudo-pornography showing photos and drawings of women from around the world organized to evoke ideas of human origins and evolution. Blier suggests that this helps account for the diversity of styles Picasso employed in his image-filled sketchbooks for this painting. These books, and other sources such as cartoons, Blier writes, also offer hints as to the larger meaning of this painting.

Prompt: アビニヨンの娘たちの影響に関するアフリカ美術、イベリア美術を説明してください。英語で出力して下さい。

African art
BBC
BBC World Service
Carl Heinrich Stratz
Christian Zervos
Daniel-Henry Kahnweiler
Iberian sculpture
Louvre


subsection

アビニヨンの娘たち

. }}During the 19th and 20th centuries, Europe's colonization of Africa led to many economic, social, political, and even artistic encounters. From these encounters, Western visual artists became increasingly interested in the unique forms of African art, particularly masks from the Niger-Congo region. In an essay by Dennis Duerden, author of African Art , The Invisible Present , and a former director of the BBC World Service, the mask is defined as "very often a complete head-dress and not just that part that conceals the face". This form of visual art and image appealed to Western visual artists, leading to what Duerden calls the "discovery" of African art by Western practitioners, including Picasso.The stylistic sources for the heads of the women and their degree of influence has been much discussed and debated, in particular the influence of African tribal masks, art of Oceania, and pre-Roman Iberian sculptures. The rounded contours of the features of the three women to the left can be related to Iberian sculpture, but not obviously the fragmented planes of the two on the right, which indeed seem influenced by African masks. wrence Weschler says that, <blockquote>in many ways, much of the moldering cultural and even scientific ferment that characterized the first decade and a half of the twentieth century and that laid the foundations for much of what we today consider modern can be traced back to ways in which Europe was already wrestling with its bad-faith, often strenuously repressed, knowledge of what it had been doing in Africa. The example of Picasso virtually launching cubism with his 1907 Desmoiselles d’Avignon, in response to the sorts of African masks and other colonial booty he was encountering in Paris’s Musee de l’Homme, is obvious. this is belied by his deep interest in the African sculptures owned by Matisse and his close friend Guiliaume Apollinaire. Some Iberian reliefs from Osuna, then only recently excavated, were on display in the Louvre from 1904. Archaic Greek sculpture has also been claimed as an influence.Contentions about the influence of African sculpture were fueled in 1939 when Alfred Barr said the primitivism of the Demoiselles derived from the art of Côte d'Ivoire and the French Congo. Picasso subsequently insisted his catalogue raissonne’s editor Christian Zervos publish a disclaimer in which Picasso certified that he was not aware of African art until after Demoiselles was completed, but that he had instead drawn from Iberian art he had seen a year or so earlier, in particular from the Louvre’s Osuna reliefs. Contradictingly, in 1944 Picasso recounted seeing African art and being greatly moved by it during Demoiselles’  creation, adding that the experience was revelatory and a pivotal moment in the painting’s formulation. To Andre Malraux he said the revelations of African sculpture came to him from visiting to the Ethnographic Museum of the Trocadero. As Picasso recalled, "When I went to the Trocadero, it was disgusting. The flea market, the smell. I was all alone. I wanted to get away, but I didn't leave. I stayed, I stayed. I understood that it was very important. Something was happening to me, right. The masks weren't like any other pieces of sculpture, not at all. They were magic things." Maurice de Vlaminck is often credited with introducing Picasso to African sculpture of Fang extraction in 1904.Picasso biographer John Richardson recounts in A Life of Picasso, The Cubist Rebel 1907–1916 art dealer Daniel-Henry Kahnweiler's recollection of his first visit to Picasso's studio in July 1907. Kahnweiler remembers seeing "dusty stacks of canvases" in Picasso's studio and "African sculptures of majestic severity". Richardson comments: "so much for Picasso's story that he was not yet aware of Tribal art.'" A photograph of Picasso in his studio surrounded by African sculptures c.1908, is found on page 27 of that same volume.Suzanne Preston Blier says that, like Gauguin and several other artists in this era, Picasso used illustrated books for many of his preliminary studies for this painting. In addition to the Frobenius book, his sources included a 1906 publication of a twelfth-century Medieval art manuscript on architectural sculpture by Villiard de Honnecourt and a book by Carl Heinrich Stratz of pseudo-pornography showing photos and drawings of women from around the world organized to evoke ideas of human origins and evolution. Blier suggests that this helps account for the diversity of styles Picasso employed in his image-filled sketchbooks for this painting. These books, and other sources such as cartoons, Blier writes, also offer hints as to the larger meaning of this painting.

Prompt: アビニヨンの娘たちでは、どのように影響のアフリカ美術、イベリア美術が説明されていますか？英語で出力して下さい。

African art
BBC
BBC World Service
Carl Heinrich Stratz
Christian Zervos
Daniel-Henry Kahnweiler
Iberian sculpture
Louvre


subsection

アビニヨンの娘たち

. }}During the 19th and 20th centuries, Europe's colonization of Africa led to many economic, social, political, and even artistic encounters. From these encounters, Western visual artists became increasingly interested in the unique forms of African art, particularly masks from the Niger-Congo region. In an essay by Dennis Duerden, author of African Art , The Invisible Present , and a former director of the BBC World Service, the mask is defined as "very often a complete head-dress and not just that part that conceals the face". This form of visual art and image appealed to Western visual artists, leading to what Duerden calls the "discovery" of African art by Western practitioners, including Picasso.The stylistic sources for the heads of the women and their degree of influence has been much discussed and debated, in particular the influence of African tribal masks, art of Oceania, and pre-Roman Iberian sculptures. The rounded contours of the features of the three women to the left can be related to Iberian sculpture, but not obviously the fragmented planes of the two on the right, which indeed seem influenced by African masks. wrence Weschler says that, <blockquote>in many ways, much of the moldering cultural and even scientific ferment that characterized the first decade and a half of the twentieth century and that laid the foundations for much of what we today consider modern can be traced back to ways in which Europe was already wrestling with its bad-faith, often strenuously repressed, knowledge of what it had been doing in Africa. The example of Picasso virtually launching cubism with his 1907 Desmoiselles d’Avignon, in response to the sorts of African masks and other colonial booty he was encountering in Paris’s Musee de l’Homme, is obvious. this is belied by his deep interest in the African sculptures owned by Matisse and his close friend Guiliaume Apollinaire. Some Iberian reliefs from Osuna, then only recently excavated, were on display in the Louvre from 1904. Archaic Greek sculpture has also been claimed as an influence.Contentions about the influence of African sculpture were fueled in 1939 when Alfred Barr said the primitivism of the Demoiselles derived from the art of Côte d'Ivoire and the French Congo. Picasso subsequently insisted his catalogue raissonne’s editor Christian Zervos publish a disclaimer in which Picasso certified that he was not aware of African art until after Demoiselles was completed, but that he had instead drawn from Iberian art he had seen a year or so earlier, in particular from the Louvre’s Osuna reliefs. Contradictingly, in 1944 Picasso recounted seeing African art and being greatly moved by it during Demoiselles’  creation, adding that the experience was revelatory and a pivotal moment in the painting’s formulation. To Andre Malraux he said the revelations of African sculpture came to him from visiting to the Ethnographic Museum of the Trocadero. As Picasso recalled, "When I went to the Trocadero, it was disgusting. The flea market, the smell. I was all alone. I wanted to get away, but I didn't leave. I stayed, I stayed. I understood that it was very important. Something was happening to me, right. The masks weren't like any other pieces of sculpture, not at all. They were magic things." Maurice de Vlaminck is often credited with introducing Picasso to African sculpture of Fang extraction in 1904.Picasso biographer John Richardson recounts in A Life of Picasso, The Cubist Rebel 1907–1916 art dealer Daniel-Henry Kahnweiler's recollection of his first visit to Picasso's studio in July 1907. Kahnweiler remembers seeing "dusty stacks of canvases" in Picasso's studio and "African sculptures of majestic severity". Richardson comments: "so much for Picasso's story that he was not yet aware of Tribal art.'" A photograph of Picasso in his studio surrounded by African sculptures c.1908, is found on page 27 of that same volume.Suzanne Preston Blier says that, like Gauguin and several other artists in this era, Picasso used illustrated books for many of his preliminary studies for this painting. In addition to the Frobenius book, his sources included a 1906 publication of a twelfth-century Medieval art manuscript on architectural sculpture by Villiard de Honnecourt and a book by Carl Heinrich Stratz of pseudo-pornography showing photos and drawings of women from around the world organized to evoke ideas of human origins and evolution. Blier suggests that this helps account for the diversity of styles Picasso employed in his image-filled sketchbooks for this painting. These books, and other sources such as cartoons, Blier writes, also offer hints as to the larger meaning of this painting.

Prompt: アビニヨンの娘たちの影響におけるアフリカ美術、イベリア美術の特徴を説明してください。英語で出力して下さい。

African art
BBC
BBC World Service
Carl Heinrich Stratz
Christian Zervos
Daniel-Henry Kahnweiler
Iberian sculpture
Louvre