Les Demoiselles d'Avignon

2054: 2356:

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 (and womb-resembling) 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 (a sailor and a doctor) 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.

1279: 2377: 2138: 1563: 2100: 2086: 2126: 381: 976: 1122: 2114: 1470: 955: 337: 2368:) 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. 2226:, a reminder of death). A trace of their presence at a table in the center remains: the jutting edge of a table near the bottom of the canvas. The viewer, Steinberg says, has come to replace the sitting men, forced to confront the gaze of prostitutes head on, invoking readings far more complex than a simple allegory or the autobiographical reading that attempts to understand the work in relation to Picasso's own history with women. A world of meanings then becomes possible, suggesting the work as a meditation on the danger of sex, the "trauma of the gaze" (to use a phrase of 1454: 1377:

was of its time yet timeless. An artist could also confound conventional notions of beauty, he demonstrated, by harnessing his demons to the dark gods (not necessarily Tahitian ones) and tapping a new source of divine energy. If in later years Picasso played down his debt to Gauguin, there is no doubt that between 1905 and 1907 he felt a very close kinship with this other Paul, who prided himself on Spanish genes inherited from his Peruvian grandmother. Had not Picasso signed himself 'Paul' in Gauguin's honor.

1517: 39: 684: 2207:. 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. 10390: 595: 405: 1256: 1975:

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.

1058:, but also its apocalyptic power. Later, 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." 2184:

influenced at the time by archaic Spanish (Iberian) sculpture. He was also influenced – particularly in the two heads at the right – by African masks…here it seems that Picasso's quotations are simple, direct, and emotional. He is not in the least concerned with formal problems. The dislocations in this picture are the result of aggression, not aesthetics; it is the nearest you can get in a painting to an outrage…

772:, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by 565: 1698: 2045:

notion that Western culture is the modern and ‘ideal’ future. The museum's attempt to remove the implication of the title's vocabulary was critiqued as false innocence by critics who said the exhibition framed tribal culture as foreign and 'different' symbolism and treated tribal objects solely a part of history whose only modern purpose is to serve artistic interpretation.

2280:

of vantage; and by a sudden stylistic shift at the climax. Finally, the insistent staccato of the presentation was found to intensify the picture's address and symbolic charge: the beholder, instead of observing a roomfuI of lazing whores, is targeted from all sides. So far from suppressing the subject, the mode of organization heightens its flagrant eroticism.

1358:, in Paris. Durrio had several of Gauguin's works on hand because he was a friend of Gauguin's and an unpaid agent of his work. Durrio tried to help his poverty-stricken friend in Tahiti by promoting his oeuvre in Paris. After they met Durrio introduced Picasso to Gauguin's stoneware, helped Picasso make some ceramic pieces and gave Picasso a first 1646:. 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." 1399:, which was prominently displayed in 1906, was to stimulate Picasso's interest in both sculpture and ceramics, while the woodcuts would reinforce his interest in print-making, though it was the element of the primitive in all of them which most conditioned the direction that Picasso's art would take. This interest would culminate in the seminal 2154:, 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. 2344:. For Picasso it would also be a rite of passage: what he called an exorcism.' It cleared the way for cubism. It likewise banished the artist's demons. Later, these demons would return and require further exorcism. For the next decade, however, Picasso would feel as free and creative and 'as overworked' as God. 2395:

I remember the day he bought the painting from Picasso, who strange as it may seem, appeared to be intimidated by Doucet and even offered no resistance when the price was set at 25,000 francs: "Well then, it's agreed, M. Picasso." Doucet then said: "You shall receive 2,000 francs per month, beginning

2279:

confessed itself a picture conceived in duration and delivered in spasms. In this one work Picasso discovered that the demands of discontinuity could be met on multiple levels: by cleaving depicted flesh; by elision of limbs and abbreviation; by slashing the web of connecting space; by abrupt changes

1926:

In the foreground, however, alien to the style of the rest of the painting, appear a crouching figure and a bowl of fruit. These forms are drawn angularly, not roundly modeled in chiaroscuro. The colors are luscious blue, strident yellow, next to pure black and white. This is the beginning of Cubism,

1919:

Early in 1907 Picasso began a strange large painting depicting women, fruit and drapery, which he left unfinished. It cannot be called other than unfinished, even though it represents a long period of work. Begun in the spirit of the works of 1906, it contains in one section the endeavors of 1907 and

1553:

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,

358:

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and

2359:

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

2044:

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

1346:

In the autumn of 1906, Picasso followed his previous successes with paintings of oversized nude women, and monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive art. Pablo Picasso's paintings of massive figures from 1906 were directly influenced by

2413:

Ultimately, it seems Doucet paid 30,000 francs rather than the agreed price. A few months after the purchase Doucet had the painting appraised at between 250,000 and 300,000 francs. Richardson speculates that Picasso, who by 1924 was on the top of the art world and did not need to sell the painting

2355:

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

2218:

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

2187:

I emphasize the violent and iconoclastic aspect of this painting because it is usually enshrined as the great formal exercise which was the starting point of Cubism. It was the starting point of Cubism, in so far as it prompted Braque to begin painting at the end of the year his own far more formal

2036:

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

1171:

is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit.

455:

from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in

367:

paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of

2009:

The only other time the painting might have been exhibited to the public prior to a 1937 showing in New York was in 1918, in an exhibition dedicated to Picasso and Matisse at Galerie Paul Guillaume in Paris, though very little information exists about this exhibition or the presence (if at all) of

1974:

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.

1679:

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

1376:

The 1906 exhibition of Gauguin's work left Picasso more than ever in this artist's thrall. Gauguin demonstrated the most disparate types of art—not to speak of elements from metaphysics, ethnology, symbolism, the Bible, classical myths, and much else besides—could be combined into a synthesis that

2183:

A brothel may not in itself be shocking. But women painted without charm or sadness, without irony or social comment, women painted like the palings of a stockade through eyes that look out as if at death – that is shocking. And equally the method of painting. Picasso himself has said that he was

1197:

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

2408:

through it one penetrates right into the core of Picasso's laboratory and because it is the crux of the drama, the center of all the conflicts that Picasso has given rise to and that will last forever....It is a work which to my mind transcends painting; it is the theater of everything that has

2191:

Yet it did provoke the beginning of the great period of exception in Picasso's life. Nobody can know exactly how the change began inside Picasso. We can only note the results. Les Demoiselles d'Avignon, unlike any previous painting by Picasso, offers no evidence of skill. On the contrary, it is

1688:

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

1438:

50 years later he was delighted when Cooper and I told him that we had come upon this sculpture in a collection that also included the original plaster of his Cubist head. Has it been a revelation, like Iberian sculpture? Picasso's shrug was grudgingly affirmative. He was always loath to admit

2081:

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.

589:

wrote: "owing to its long sequestration in the collection of the Barnes Foundation, which never permitted its reproduction in color, it is the least familiar of modern masterpieces. Yet this painting was Matisse's own response to the hostility his work had met with in the Salon d'Automne of

1513:, 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. 1193:'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 1237:

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

2188:

answer to Les Demoiselles d'Avignon…yet if he had been left to himself, this picture would never have led Picasso to Cubism or to any way of painting remotely resembling it…It has nothing to do with that twentieth-century vision of the future which was the essence of Cubism.

1993:

so as to lessen its scandalous impact on the public. Picasso never liked the title, however, preferring "las chicas de Avignon", but Salmon's title stuck. Leo Steinberg labels his essays on the painting after its original title. According to Suzanne Preston Blier, the word

1500:

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

2002:) 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 1665:'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 1817:, 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 891:

there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his

2006:, scholars argue, not only references the street where Picasso once bought his paint supplies (which had a few brothels), but also the home of Max Jacob's grandmother, whom Picasso jocularly identifies as one of the painting's diverse modern day subjects. 2219:

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.

900:—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time. 556:(1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso. 2306:

on his huge new canvas. The execution of this painting would make a dramatic climax to these pages. However, it would imply that Picasso's great revolutionary work constitutes a conclusion to all that has gone before. It does not. For all that the

1633:

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

1582:. Since none of the African masks once thought to have influenced Picasso in this painting were available in Paris at the time work was painted, he is thought now to have studied African mask forms in an illustrated volume by anthropologist 2233:

According to Steinberg, the reversed gaze, that is, the fact that the figures look directly at the viewer, as well as the idea of the self-possessed woman, no longer there solely for the pleasure of the male gaze, may be traced back to

2179:

Blunted by the insolence of so much recent art, we probably tend to underestimate the brutality of the Les Demoiselles d'Avignon. All his friends who saw it in his studio were at first shocked by it. And it was meant to shock…

1176:

is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of

494:(1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of 2149:

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

1545:. 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. 1573:

Private collections and illustrated books featuring African art in this period were also important. While Picasso emphatically denied the influence of African masks on the painting: "African art? Never heard of it!"

1417:

was further stimulated by the examples he saw at the 1906 Gauguin retrospective at the Salon d'Automne. The most disturbing of those ceramics (one that Picasso might have already seen at Vollard's) was the gruesome

1387:(literally meaning 'savage'), 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 734:, an exploration of "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled 172:, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an 2195:

By painting Les Demoiselles d'Avignon Picasso provoked Cubism. It was the spontaneous and, as always, primitive insurrection out of which, for good historical reasons, the revolution of Cubism developed.

362:

By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his

2077:, 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 (lower right) underwent at least two revisions from an 5339: 1339:, in part because of the compelling works of Paul Gauguin that had suddenly achieved center stage in the avant-garde circles of Paris. Gauguin's powerful posthumous retrospective exhibitions at the 2222:

The earliest sketches feature two men inside the brothel; a sailor and a medical student (who was often depicted holding either a book or a skull, causing Barr and others to read the painting as a

254:. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to 3163: 2053: 2360:

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

1426:

acquired this little-known work (exhibited only once since 1906) it had never been recognized as the masterpiece it is, let alone recognized for its relevance to the works leading up to the

708:

Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including

1323:

art. Artists such as Paul Gauguin, Henri Matisse and Picasso were intrigued and inspired by the stark power and simplicity of styles of those cultures. Around 1906, Picasso, Matisse,

6108: 2422:

in his will. However, after Doucet died in 1929 he did not leave the painting to the Louvre in his will, and it was sold like most of Doucet's collection through private dealers.

10432: 2158:

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.

184:

evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.

533:

around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew

2497:

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."

2376: 1825:

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.

2777: 1278: 786:. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of 2299:

It is at this point, the beginning of 1907, that I propose to bring this first volume to an end. The 25-year-old Picasso is about to conjure up a quintet of

1861:

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

2037:

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

921:, although Picasso denied the connection; many art historians remain skeptical about his denials. Picasso spent an October 1906 evening closely studying a 2334:. As we will see in the next volume, it established a new pictorial syntax; it enabled people to perceive things with new eyes, new minds, new awareness. 1923:

The nudes, with large, quiet eyes, stand rigid, like mannequins. Their stiff, round bodies are flesh-colored, black and white. That is the style of 1906.

9141: 1301:

Pablo Picasso's paintings of monumental figures from 1906 were directly influenced by Gauguin. The savage power evoked by Gauguin's work led directly to

4651: 3056: 3937: 2638: 2271:

had so long taken for granted. The famous stylistic rupture at right turned out to be merely a consummation. Overnight, the contrived coherences of

6103: 1533:

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

2452:

in New York City mounted an important Picasso exhibition on 15 November 1939 that remained on view until 7 January 1940. The exhibition, entitled

1562: 6442: 1354:, Pablo Picasso as early as 1902 became an aficionado of Gauguin's work when he met and befriended the expatriate Spanish sculptor and ceramist 780:

of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting

728:

and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential

6126: 995:

El Greco's paintings, such as this Apocalyptic Vision of Saint John, have been suggested as a source of inspiration for Picasso leading up to

6088: 2718: 1966:

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

645: 603: 1554:

often strenuously repressed, knowledge of what it had been doing in Africa. The example of Picasso virtually launching cubism with his 1907

4172: 3316:"Catalogue de peinture, dessin, sculpture, gravure, architecture et arts décoratifs : exposés au Grand Palais des Champs-Élysées ..." 244:

was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends.

6133: 2137: 755:. Both paintings evoke ideas of human origins (world beginnings, evolution) an increasingly important theme in Paris at this time. The 6998: 2963: 941:

He had come to this museum originally to study plaster casts of medieval sculptures, then also considered examples of "primitive" art.

819:, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the 548:(1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to 2668: 5420: 1643: 930: 742: 5632: 4691: 1558:, in response to the sorts of African masks and other colonial booty he was encountering in Paris’s Musee de l’Homme, is obvious. 1052:

El Greco's painting, which Picasso studied repeatedly in Zuloaga's house, inspired not only the size, format, and composition of

2099: 2085: 6585: 5100: 4789: 4784: 4779: 4774: 4769: 4764: 4759: 4754: 4749: 2852: 2391:

without asking Picasso to unroll it in his studio so that he could see it again. André Breton later described the transaction:

666:(1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's 391: 4915: 833:(1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde 10006: 4533: 4519: 4501: 4141: 4121: 4015: 3693: 3662: 3635: 3588: 3557: 3135: 1888:. Georges Braque and André Derain were both initially troubled by it although they were supportive of Picasso. According to 5528: 5455: 909:

Picasso created hundreds of sketches and studies in preparation for the final work. He long acknowledged the importance of

295:, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet 2125: 10427: 7165: 1205:

works in Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like

662:

Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic

1846:

would not be exhibited until 1916, and not widely recognized as a revolutionary achievement until the early 1920s, when

1590:

from spring 1906 through the spring of 1907. Influences from ancient Iberian sculpture are also important. Some Iberian

10442: 9201: 6729: 6697: 4385: 3024: 2429:

art gallery in New York City held an exhibition titled "20 Years in the Evolution of Picasso, 1903–1923" that included

2017:

Afterwards, the painting was rolled up and remained with Picasso until 1924 when, with urging and help from Breton and

1320: 503: 3431:, Nicolas Bancel, Pascal Blanchard, Gilles Boëtsch, Eric Deroo, Sandrine Lemaire, Edition La Découverte, 2002. 340–348 2340:

is the first unequivocally 20th-century masterpiece, a principal detonator of the modern movement, the cornerstone of

9934: 6593: 5164: 5108: 5018: 4827: 4636: 4603: 4580: 4564: 4550: 4459: 4441: 4419: 4402: 4371: 4347: 4333: 4287: 3858: 3294: 3087: 2905: 2878: 2774: 2678: 2648: 2380: 2022: 9153: 925:

figure from Congo then owned by Matisse. It was later that night that Picasso's first studies for what would become

10437: 6196: 5331: 5172: 5076: 5060: 4352: 4275: 2749:, edited by Christopher Green, Courtauld Institute of Art, University of London, Cambridge University Press, 2001" 2192:

clumsy, overworked, unfinished. It is as though his fury in painting it was so great that it destroyed his gifts…

1098:

in Paris between 1903 and 1907, and both were important influences on Picasso and instrumental to his creation of

937:) in the spring of 1907 where he saw and sought inspiration from African and other arts shortly before completing 10447: 10422: 5010: 4485: 4254:. "Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece." Durham, N.C.: Duke University Press. 2019. 4101: 3119: 2531: 2288: 1369: 380: 287:

At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the

3710: 917:

as influences on the painting. The work is believed by critics to be influenced by African tribal masks and the

10155: 10148: 9970: 7104: 7070: 6028: 5705: 4465: 4301: 4267: 2729: 2707: 2426: 1863: 1107: 747: 692: 9747: 2275:- the feigned unities of time and place, the stylistic consistencies - all were declared to be fictional. The 2073:

differently. The woman pulling the curtain on the upper right is rendered with heavy paint. Composed of sharp

1343:

in Paris in 1903 and an even larger one in 1906 had a stunning and powerful influence on Picasso's paintings.

790:

and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former

5944: 965: 4867: 1873:, overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy. Just as the 680:

had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.

7291: 6649: 5412: 5156: 3765: 3276:, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press 1985, pp. 34-42 1638:

creation, adding that the experience was revelatory and a pivotal moment in the painting’s formulation. To

6705: 5463: 10248: 10176: 9225: 9010: 7065: 6721: 6412: 6044: 5544: 5315: 5259: 5203: 4962: 4726: 4684: 2252:

wrote that "Steinberg was the first writer to come to grips with the sexual subject of the Demoiselles."

1181:

Although not well known to the general public prior to 1906, Cézanne's reputation was highly regarded in

1114:

and especially important to the paintings of Picasso during 1906 and 1907. Cooper goes on to say however

4388: 2744: 2534:

performed by conservators at the Museum of Modern Art confirmed the presence of the following pigments:

10197: 10106: 6665: 6156: 5689: 5034: 4794: 4279: 3167: 3150: 2506: 1578:), this is belied by his deep interest in the African sculptures owned by Matisse and his close friend 1434:

has an awesome presence, as befits a monument intended for Gauguin's grave. Picasso was very struck by

1155: 1121: 5968: 5956: 5766: 2437:

acquired the painting for $ 24,000. The museum raised $ 18,000 toward the purchase price by selling a

776:(1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French 514:(1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of 8494: 7580: 6737: 6609: 6118: 6012: 5822: 5649: 5355: 5180: 5124: 4923: 4891: 4835: 3784:"Cahiers d'art : bulletin mensuel d'actualité artistique / [directeur Christian Zervos]" 2113: 1019: 280: 177: 4883: 1963: 1689:

sources such as cartoons, Blier writes, also offer hints as to the larger meaning of this painting.

1469: 975: 540:

Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal

9115: 8661: 8053: 7962: 6681: 6510: 6287: 5267: 5084: 5068: 4720: 4714: 4230: 2461: 725: 721: 452: 425: 396: 364: 188: 7754: 5950: 5798: 4212: 2387:

Jacques Doucet had seen the painting at the Salon d'Antin, yet remarkably seems to have purchased

1130: 653:

term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper

336: 260: 10412: 10255: 10141: 9317: 7852: 7158: 7132: 7053: 6689: 6392: 6312: 5219: 4970: 4875: 3712:

Traité élémentaire de géométrie à quatre dimensions et introduction à la géométrie à n dimensions

2517: 1662: 1312: 954: 773: 697: 5782: 4213:"MoMA.org | Explore | Collection | Conservation | Les Demoiselles d'Avignon" 4187: 2928: 10382: 10339: 10190: 9261: 8542: 7974: 7878: 7775: 7093: 6317: 6004: 5893: 5732: 5718: 4994: 4811: 4677: 4660: 2230:'s invention), and the threat of violence inherent in the scene and sexual relations at large. 1779: 1758: 1497: 3685: 3679: 3580: 3574: 3498:

Green, 2005, discusses the visit, and also postcards of African people owned by Picasso. 49–58

3330:"Catalogue des ouvrages de peinture, sculpture, dessin gravure, architecture et art décoratif" 1884:

Among Picasso's closed circle of friends and colleagues there was a mixture of opinions about

934: 10318: 10241: 9538: 8424: 8263: 7684: 7608: 7405: 7029: 5869: 5664: 5579: 5428: 5404: 5394: 5379: 5307: 5042: 4978: 4251: 2348: 2155: 1901: 1727: 1681: 1676: 1579: 655: 649:

also hanging near the works by Matisse and which may have had an influence on the particular

585:. A painting that was called Fauvist and brought Matisse both public derision and notoriety. 250: 9475: 5917: 4616: 1954:. The exhibition space at 26 rue d'Antin was lent by the famous couturier and art collector 1311:

During the late 19th and early 20th centuries, the European cultural elite were discovering

1061:

The relationship of the painting to other group portraits in the Western tradition, such as

738:, completed by Derain in 1905, shows the transfer of human ages in an even more direct way. 639:(1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large 10375: 10162: 10018: 8871: 7225: 6948: 6332: 6277: 6189: 6141: 5996: 5909: 5487: 5291: 5235: 5092: 4931: 3061: 2696: 2449: 2434: 2383:'s hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain 2272: 2062: 1979:

Picasso referred to his only entry at the Salon d'Antin as his Brothel painting calling it

1685: 1666: 1534: 1336: 1269: 417: 348: 191: 153: 105: 9461: 8906: 6082: 5837: 5790: 5275: 5251: 3872: 3846: 2916: 883:

a netherworld of strange gods and violent emotions. As between the mythological nymphs of

8: 10220: 9677: 9670: 9249: 9045: 8959: 8878: 8633: 8626: 8382: 7573: 7275: 6990: 6545: 6485: 6417: 6327: 6259: 5962: 5725: 5148: 5026: 4819: 3623: 2800: 2466: 2151: 1869: 1750:. Princet became known as "le mathématicien du cubisme" ("the mathematician of cubism"). 1710: 1647: 1230: 1046: 1013:(1541–1614), who at the time was largely obscure and under-appreciated. Picasso's friend 871: 829: 760: 730: 717: 701: 573: 474: 412: 9237: 8501: 7059: 6713: 6641: 4626: 4033:"New Encounters with Les Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism" 3332:. Paris : Société du Salon d'automne. 13 January 1906 – via Internet Archive. 2947: 1614: 1423: 1292: 299:. It was at this exhibition that Salmon, who had previously titled the painting in 1912 10393: 10204: 10099: 10056: 9994: 9982: 9898: 9573: 9531: 9122: 8857: 8675: 8214: 8200: 8095: 7950: 7926: 7810: 7396: 7151: 7109: 6657: 6633: 6550: 6362: 6342: 5299: 5227: 5188: 4086: 4060: 3976: 2240: 2205:

New Encounters with Les Desmoiselles d'Avignon: Gender, Race, and the Origins of Cubism

1959: 1340: 1194: 1095: 1063: 631:

chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a

616: 9922: 9830: 9684: 6432: 6357: 6282: 5832: 3329: 3315: 2921:, Gil Blas, 17 October 1905. Screen 5 and 6. Gallica, Bibliothèque nationale de France 2493:

describing it as the "most influential work of art of the last 100 years". Art critic

1453: 534: 203: 10417: 10127: 10030: 9767: 9719: 9691: 9598: 9559: 9524: 9347: 8815: 8787: 8647: 8340: 8256: 8158: 8123: 7890: 7670: 7636: 7006: 6855: 6825: 6322: 6096: 6036: 6020: 5571: 5387: 5371: 5363: 5323: 5283: 5211: 5140: 4947: 4907: 4899: 4843: 4599: 4576: 4560: 4546: 4529: 4515: 4497: 4455: 4437: 4415: 4398: 4381: 4367: 4343: 4329: 4297: 4283: 4137: 4117: 4052: 4011: 3854: 3716: 3689: 3658: 3631: 3584: 3553: 3290: 3131: 3083: 3020: 3013: 2924: 2901: 2874: 2725: 2703: 2674: 2644: 2591: 2315: 1546: 1542: 1510: 1328: 914: 578: 369: 248:

considered the work something of a bad joke yet indirectly reacted to it in his 1908

9433: 7517: 3146: 2849: 1754: 929:

were created. Several experts maintain that, at the very least, Picasso visited the

10360: 10353: 10092: 9872: 9781: 9774: 9705: 9607: 9517: 9363: 9273: 9165: 9059: 9052: 8885: 8710: 8668: 8487: 8403: 8298: 8207: 8067: 8039: 7654: 7524: 7489: 7482: 7447: 7362: 7255: 7023: 6963: 6881: 6840: 6764: 6756: 6673: 6601: 6555: 6520: 6500: 6447: 6397: 6382: 6163: 6062: 5988: 5861: 5817: 5741: 5479: 5116: 4306: 4044: 3968: 3472: 3468: 2442: 2341: 1947: 1818: 1762: 1622: 1186: 759:

was one of the paintings that would later create an international sensation at the

668: 663: 624: 511: 9566: 9468: 8305: 8291: 8284: 8109: 7468: 6377: 6249: 5758: 3906: 3783: 1639: 1209:

Cézanne's explorations of geometric simplification and optical phenomena inspired

469: 10346: 10297: 10283: 10276: 9837: 9740: 9552: 9545: 9447: 9419: 9412: 9384: 9336: 9189: 9108: 9080: 8975: 8899: 8850: 8738: 8703: 8591: 8584: 8528: 8480: 8389: 8277: 8130: 8102: 7902: 7824: 7817: 7796: 7733: 7691: 7601: 7594: 7552: 7496: 7387: 7121: 6871: 6820: 6815: 6800: 6560: 6454: 6407: 6367: 6297: 6269: 6239: 6182: 6148: 5711: 5587: 5494: 4511: 4493: 4113: 3127: 2856: 2781: 2512: 2227: 2074: 1897: 1766: 1739: 1715: 1383: 1226: 1014: 837:—a role that, as far as public opinion was concerned, he was never to relinquish. 465: 352: 109: 8982: 8801: 8577: 8081: 7433: 7035: 6790: 3938:"Shallow Reflections: William Rubin, Modern Art and the Aestheticized Primitive" 3820: 3611: 3599: 2952:, The Oxford Dictionary of Art, Oxford University Press, 2004. 26 December 2007. 2248:(1927–2006), the former director of the Department of Painting and Sculpture at 1893: 1847: 1324: 1125: 1091: 713: 479: 433: 340: 296: 255: 10304: 10234: 10227: 10169: 10113: 10083: 9946: 9858: 9788: 9733: 9712: 9635: 9628: 9621: 9482: 9440: 9426: 9405: 9356: 9101: 9094: 9073: 9066: 9017: 8996: 8989: 8752: 8563: 8556: 8535: 8519: 8452: 8438: 8326: 8165: 8144: 8137: 8060: 8046: 8032: 7914: 7782: 7663: 7643: 7622: 7559: 7419: 7189: 7115: 7098: 7075: 7047: 6928: 6805: 6540: 6459: 6402: 6352: 6337: 6307: 6302: 6254: 6234: 6229: 6224: 5901: 5885: 5877: 5853: 5614: 5536: 5471: 5436: 5347: 5002: 4986: 4452:

Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism

3393:

Green is careful to use the two terms together throughout his discussion, 49–59

2547: 2494: 2457: 2284:

At the end of the first volume of his (so far) three volume Picasso biography:

1908:(1874–1947), and Kahnweiler were more enthusiastic about the painting however. 1833: 1795:

and projected them onto the two-dimensional surface. Picasso's sketchbooks for

1765:. Princet brought to the attention of Picasso, Metzinger and others, a book by 1747: 1735: 1599: 1538: 1351: 1222: 1218: 1214: 1038: 1024: 918: 709: 673: 636: 598: 526: 322: 227: 8913: 8570: 8235: 7845: 7726: 6490: 6387: 1927:

the first upsurge, a desperate titanic clash with all of the problems at once.

1642:

he said the revelations of African sculpture came to him from visiting to the

1605:

Contentions about the influence of African sculpture were fueled in 1939 when

1516: 619:

of 1905 brought notoriety and attention to the works of Henri Matisse and the

67: 38: 10406: 10325: 10290: 10183: 9865: 9809: 9795: 9642: 9503: 9398: 9391: 9377: 9087: 8968: 8836: 8731: 8689: 8640: 8473: 8466: 8431: 8396: 8347: 8319: 8242: 7838: 7768: 7740: 7712: 7615: 7531: 7475: 7461: 7454: 7440: 7348: 7328: 7246: 7218: 6903: 6876: 6530: 6475: 6427: 6372: 6219: 6072: 5938: 5774: 5520: 4939: 4700: 4538: 4475: 4407: 4257: 4056: 3075: 2889: 2555: 2245: 2211: 1889: 1719: 1586:. Primitivism continues in his work during, before and after the painting of 1583: 1210: 876: 806: 687: 683: 586: 568: 549: 545: 460:

and its environs. The Rose period produced two important large masterpieces:

288: 245: 215: 195: 149: 113: 97:

243.9 cm × 233.7 cm (96 in × 92 in)

49: 8598: 7503: 7266: 6898: 4464:

Lubar, Robert. "Narrating the Nation: Picasso and the Myth of El Greco", in

3181: 2441:

painting and the rest came from donations from the co-owners of the gallery

1821:(1881–1966) separated. The re-painting of the two heads on the far right of 1118:

is often erroneously referred to as the first Cubist painting. He explains,

1094:(1839–1906) were accorded major posthumous retrospective exhibitions at the 10120: 9958: 9851: 9823: 9758: 9726: 9698: 9663: 9656: 9649: 9614: 9580: 9496: 9454: 9305: 9294: 9284: 9213: 9031: 9003: 8941: 8934: 8920: 8892: 8864: 8829: 8822: 8794: 8780: 8766: 8745: 8654: 8612: 8605: 8445: 8417: 8368: 8354: 8228: 8193: 8088: 8074: 8011: 7938: 7831: 7789: 7587: 7412: 7087: 7081: 6968: 6908: 6886: 6850: 6795: 6772: 6617: 6535: 6515: 6505: 6480: 6422: 6347: 6292: 5132: 4436:. Kymberly N. Pinder, editor, Routledge, New York, 2002, pp. 233–260. 3720: 2501: 2223: 2018: 1905: 1524:

mask similar in style to those Picasso saw in Paris just prior to painting

1261: 1202: 1087: 519: 507: 495: 265: 157: 87: 82: 8333: 6625: 3907:""Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern" 3459:

Sweeney, James Johnson (September 1941). "Picasso and Iberian Sculpture".

2203:

can be taken as the catalyst for the style of Cubism in her 1994 article,

1110:, both of those artists were particularly influential to the formation of 845:

Whereas Matisse had drawn upon a long tradition of European painting—from

10332: 10213: 10072: 10063: 9879: 9802: 8843: 8808: 8724: 8717: 8459: 8361: 8249: 8179: 8116: 7993: 7859: 7719: 7677: 7629: 7566: 7545: 7538: 7510: 7426: 7369: 7209: 7127: 6938: 6913: 6891: 6835: 6830: 6810: 6067: 4859: 4851: 4340:

Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art

3485:

Daix, Pierre. "Il n'y a pas d'art nègre dans les Demoiselles d'Avignon".

3416: 3411:

Picasso's words were transcribed by Fels F., "Opinions sur l'art nègre".

3318:

Evreux : Ch. Hérissey. 13 January 1903 – via Internet Archive.

2551: 2438: 2268: 2162: 1955: 1726:, played a role in the birth of Cubism as an associate of Pablo Picasso, 1670: 1651: 1626: 1625:

publish a disclaimer in which Picasso certified that he was not aware of

1606: 1598:, then only recently excavated, were on display in the Louvre from 1904. 1521: 1355: 1332: 1316: 1182: 1042: 922: 910: 820: 632: 457: 211: 207: 181: 4328:, Museum of Modern Art (exhibition catalog), 1980. William Rubin (ed.). 2464:. The exhibition contained 344 works, including the major 1937 painting 2034:"Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern 10262: 9816: 9587: 9510: 9489: 9370: 9038: 9024: 8773: 8759: 8696: 8619: 8508: 8375: 8312: 8172: 8002: 7803: 7761: 7698: 7355: 6525: 6077: 5606: 5552: 5243: 4445: 4064: 4032: 2535: 1814: 1788: 1239: 1198:

ideas were particularly resonant especially to young artists in Paris.

777: 594: 582: 515: 499: 292: 235: 169: 4665:, watercolor on wove paper, 17.5 x 22.5 cm, Philadelphia Museum of Art 3980: 3956: 2327: 2267:

Picasso was resolved to undo the continuities of form and field which

1998:

in the painting's title, rather than evoking a house of prostitution (

862: 700:. One of the paintings that created an international sensation at the 404: 10311: 10269: 10134: 9844: 8927: 8682: 8549: 8270: 8221: 8186: 7747: 7174: 7041: 6973: 6495: 6244: 5827: 3766:"The Wild Men of Paris | 2016-01-18 | Architectural Record" 2543: 2539: 1850:(1896–1966) published the work. The painting was reproduced again in 1792: 1784: 1743: 1731: 1414: 1234: 1190: 846: 741:

Matisse and Derain shocked the French public again at the March 1907

677: 628: 553: 530: 165: 4048: 2831: 2330:, it is essentially a beginning: the most innovative painting since 2311:

is rooted in Picasso's past, not to speak of such precursors as the

1327:

and other artists in Paris had acquired an interest in primitivism,

187:

Drawing from tribal primitivism while eschewing central dictates of

8151: 8018: 7376: 7337: 7321: 7307: 7198: 6958: 6953: 6923: 5501: 3972: 2483: 2319: 2312: 2300: 2078: 1836:

entitled "The Wild Men of Paris, Matisse, Picasso and Les Fauves",

1650:

is often credited with introducing Picasso to African sculpture of

1475: 1255: 1010: 960: 487: 437: 386: 275: 173: 2199:

Art historian and professor Anna C. Chave agrees with Berger that

1705:. The book, which influenced Picasso, was given to him by Princet. 564: 321:, never liked Salmon's title and would have instead preferred the 9910: 8948: 8410: 8025: 7314: 7298: 7284: 6845: 4359:. The Burlington Magazine, vol. 100, no. 662 (May 1958): 155–163. 3015:

Picasso's Demoiselles: the Untold Origins of a Modern Masterpiece

2515:

in a Paris cafe, and in the 2018 season of the television series

2323: 1857:

Richardson goes on to say that Matisse was irate upon seeing the

1723: 866: 854: 850: 791: 787: 650: 620: 608: 199: 161: 4669: 4173:

Which Is the Most Influential Work of Art of the Last 100 Years?

3550:

Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc

2414:

to Doucet, did so and at that low price because Doucet promised

1102:

According to the English art historian, collector and author of

168:, Spain. The figures are confrontational and not conventionally 148:) is a large oil painting created in 1907 by the Spanish artist 7232: 6933: 6918: 6437: 6205: 4732: 3289:. Washington, D.C.: National Gallery of Art, 1988. pp. 372–73. 2419: 2331: 1591: 1111: 1072: 1068: 858: 795: 640: 231: 223: 222:

made Picasso the most pivotal artist in Western painting since

3823:. New York,: Wittenborn, Schultz – via Internet Archive. 3628:

La Vie quotidienne à Montmartre au temps de Picasso, 1900-1910

3419:"Il n'y a pas d'art nègre dans les Demoiselles d'Avignon". In 3078:. "The Triumph of Modernism: The Art World, 1985–2005, 2006". 2640:

Imagining the Primitive in Naturalist and Modernist Literature

544:

at her home in Paris. At one of her gatherings in 1905 he met

5340:

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

3196:

Picasso's Demoiselles d'Avignon and the Theater of the Absurd

2964:

Henri Rousseau: In imaginary jungles, a terrible beauty lurks

2559: 2235: 1595: 1460: 1286: 1076: 270: 7143: 2259:, Steinberg wrote further about the revolutionary nature of 7705: 7239: 6943: 2364:

title – evoking the potent "mess" and "complex situation" (

2249: 1697: 1381:

Both David Sweetman and John Richardson point to Gauguin's

359:

the Spanish countryside, and made frequent trips to Paris.

176:

style of Picasso's Spain, while the two on the right have

4089: 3878:, A20, No. 1008, Gallica, Bibliothèque nationale de France 3423:

Paris, October 1970. Both are quoted in Anne Baldassari, "

2400:

John Richardson quotes Breton in a letter to Doucet about

1439:

Gauguin's role in setting him on the road to primitivism.

6174: 3274:

Jean Metzinger in Retrospect, Pre-Cubist works, 1904–1909

2910: 2786: 2670:"Destroy this mad brute": The African root of World War I 525:

Picasso became a favorite of the American art collectors

2145:, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano 1669:.'" A photograph of Picasso in his studio surrounded by 1617:

and the French Congo. Picasso subsequently insisted his

1566:

Congo masks published by Leo Frobenius in his 1898 book

1201:

Both Picasso and Braque found the inspiration for their

1009:, one of the old master painters he greatly admired was 506:) art. He began exhibiting his work in the galleries of 4654:

The Wild Men of Paris, Matisse, Picasso and Les Fauves,

2692: 2690: 1602:

Greek sculpture has also been claimed as an influence.

1347:

Gauguin's sculpture, painting and his writing as well.

1189:'s interest in showing and collecting his work, and by 1158:) is generally believed to be a likely inspiration for 4472:. New Haven, Connecticut: Yale University Press, 1996. 3429:

Zoos humains. De la Vénus hottentote aux reality shows

3106: 3104: 2396:

next month, until the sum of 25,000 francs is reached.

2059:

Head of a Sleeping Woman (Study for Nude with Drapery)

1983:

but André Salmon who had originally labeled the work,

1946:

was exhibited to the public for the first time at the

1801:

illustrate Jouffret's influence on the artist's work.

1775:

Elementary Treatise on the Geometry of Four Dimensions

1368:

Concerning Gauguin's impact on Picasso, art historian

869:—to create a modern version of a pastoral paradise in 10433:

Paintings in the Museum of Modern Art (New York City)

4294:

Art of the Avant-Gardes: Art of the Twentieth Century

766:

From October 1906 when he began preparatory work for

309:, instead of the title originally chosen by Picasso, 4585:

Rubin, William, Hélène Seckel & Judith Cousins,

4262:

Picasso, the Formative Years: A Study of His Sources

2687: 1854:(1927), within an article dedicated to African art. 303:, renamed it to its current, less scandalous title, 9142:

A Sunday Afternoon on the Island of La Grande Jatte

3101: 2511:about a fictional meeting of the young Picasso and 1904:(1880–1918) was not. Both the art dealer-collector 1771:

Traité élémentaire de géométrie à quatre dimensions

1703:

Traité élémentaire de géométrie à quatre dimensions

720:(1876–1958). Picasso's work had passed through his 238:were profound and unsurpassed in the 20th century. 4663:Five Nudes (Study for "Les Demoiselles d'Avignon") 4647:By William Rubin, Helene Seckel and Judith Cousins 4526:A Life of Picasso: The Triumphant Years, 1917–1932 4412:The Triumph of Modernism: The Art World, 1985–2005 3868: 3866: 3012: 2739: 2737: 4134:A Life Of Picasso The Triumphant Years, 1917–1932 3507:"A magical encounter at the root of modern art". 3019:. Durham, North Carolina: Duke University Press. 2610: 2608: 2606: 2604: 2500:The painting is prominently featured in the 1993 1950:, an exhibition organized by André Salmon titled 1753:Princet is credited with introducing the work of 1673:c.1908, is found on page 27 of that same volume. 1017:(1870–1945) acquired El Greco's masterpiece, the 623:group. The latter gained their name after critic 10404: 3185:. The City Review, 2003. Retrieved 2 April 2009. 2792: 2594:, no. 44, Spring 1988. 7–74. First published in 2061:, 1907, oil on canvas, 61.4 × 47.6 cm, The 1134:(1906, oil on canvas, 210.5 × 250.8 cm., 82 635:-type sculpture that shared the room with them. 3863: 2734: 2662: 2660: 1657:Picasso biographer John Richardson recounts in 498:and showed his interest in primitive (African, 451:He followed his success by developing into his 6127:If I Told Him: A Completed Portrait of Picasso 4508:A Life of Picasso: The Cubist Rebel 1907–1916. 4176:, Art, Newsweek, 2 July/9 July 2007, pp. 68–69 3842: 3840: 3838: 3836: 3834: 3832: 3830: 3616:Souvenir sans fin, Deuxième époque (1908–1920) 3604:Souvenir sans fin, Première époque (1903–1908) 3268: 3266: 3124:A Life of Picasso, The Cubist Rebel 1907–1916. 3065:, July 2002 (PDF). Retrieved 15 February 2009. 3006: 2942: 2940: 2938: 2936: 2601: 1900:(1879–1964), were enthusiastic about it while 875:, Picasso had turned to an alien tradition of 7159: 6190: 6089:Picasso. In the heart of darkness (1939-1945) 4685: 3004: 3002: 3000: 2998: 2996: 2994: 2992: 2990: 2988: 2986: 2860:. duvarpaper.com. Retrieved 27 November 2008. 1659:A Life of Picasso, The Cubist Rebel 1907–1916 1496:During the 19th and 20th centuries, Europe's 1291:partially glazed stoneware, 75 × 19 × 27 cm, 646:The Hungry Lion Throws Itself on the Antelope 604:The Hungry Lion Throws Itself on the Antelope 331: 10081: 10070: 7264: 7253: 7207: 7196: 5049: 4642: 4627: 4617: 4586: 4570: 4317:, Chicago: University of Chicago Press, 1997 4005: 3819:Kahnweiler, Daniel Henry (13 January 1949). 3655:Maurice Princet, Le Mathématicien du Cubisme 3427:: Picasso et la photographie coloniale", in 2850:Picasso Portrait de Allan Stein. Spring 1906 2657: 2627:, Prentice-Hall, New York, 1977, pp. 135–136 2488: 2335: 2170: 2104: 2090: 1988: 1796: 1525: 1485: 1400: 1364:Noa Noa: The Tahiti Journal of Paul Gauguin. 1053: 1037:was pinpointed in the early 1980s, when the 1028: 814: 781: 767: 441: 304: 284:has been widely discussed by later critics. 130: 7335: 6134:Woman, Bird, Star (Homage to Pablo Picasso) 4430:: Picasso, Primitivism, and Anticolonialism 3827: 3263: 2971:, 14 July 2006. Retrieved 29 December 2007. 2933: 2582: 2580: 2578: 2576: 2574: 2558:, and native earth pigments (such as brown 2530:In 2003, an examination of the painting by 1892:, two of Picasso's friends, the art critic 1478:female sculpture from 3rd or 2nd century BC 7166: 7152: 6999:The Cubist Painters, Aesthetic Meditations 6197: 6183: 4692: 4678: 4366:. New Haven: Yale University Press, 2005. 4296:. New Haven: Yale University Press, 2004. 3818: 3812: 3223: 2983: 2871:Charmed Circle: Gertrude Stein and Company 2801:"Les Demoiselles d'Avignon, Pablo Picasso" 2522:which focuses on Picasso's life and work. 2286:A Life Of Picasso. The Prodigy, 1881–1906, 1813:had an enormous and profound influence on 1443: 1245: 156:in New York, it portrays five nude female 152:. Part of the permanent collection of the 5421:Bust of a Seated Woman (Jacqueline Roque) 4490:A Life of Picasso: The Prodigy, 1881–1906 4454:. Oxford: Oxford University Press, 1998. 4274:. Phaidon Press, in association with the 4106:A Life of Picasso. The Prodigy, 1881–1906 4001: 3999: 3622: 3606:. Paris: Éditions Gallimard. p. 187. 2109:, detail of the figure to the lower right 2095:, detail of the figure to the upper right 2028:Between September 1984 and January 1985, 210:, Picasso sought to take the lead of the 4598:. New York: Simon & Schuster, 1995. 4164: 3708: 3657:(in French). Paris: Éditions L'Echoppe. 3618:. Paris: Éditions Gallimard. p. 24. 2721:Cubism: The Leonard A. Lauder Collection 2702:, University of California Press, 1994, 2666: 2636: 2571: 2375: 2136: 2124: 2112: 2098: 2084: 2052: 2032:was displayed in an exhibition entitled 1937: 1920:thus never constitutes a unified whole. 1915:was the beginning of Cubism. He writes: 1777:, 1903), a popularization of Poincaré's 1696: 1561: 1515: 1120: 682: 593: 577:(1905–06), oil on canvas, 175 × 241 cm. 563: 335: 313:. Picasso, who always referred to it as 230:to follow in their joint development of 226:and laid a path forward for Picasso and 4591:, NY: Museum of Modern Art/Abrams, 1995 4132:John Richardson, with Marilyn McCully, 3458: 3378: 3188: 2826: 2824: 2822: 2820: 2818: 2816: 2814: 2460:(1902–1981), in collaboration with the 2175:as the provocation that led to Cubism: 1049:qualities of both works were analyzed. 559: 10405: 4637:Julia Frey, Anatomy of a Masterpiece, 4185: 4010:. Penguin Books, Ltd. pp. 73–77. 3996: 3876:, Le cri de Paris, 23 July 1916, p. 10 3851:, University of California Press, 2001 3715:(in French). Paris: Gauthier-Villars. 3677: 3652: 3610: 3598: 3572: 3552:. New York: Basic Books. p. 171. 3547: 3285:Frèches-Thory, Claire; Zegers, Peter. 2667:Weschler, Lawrence (31 January 2017). 2165:, in his controversial 1965 biography 1877:had fueled Picasso's competitiveness, 627:described their work with the phrase " 10007:Six Characters in Search of an Author 7147: 6178: 6113:from the National Gallery of Victoria 4673: 4557:Picasso and Braque: Pioneering Cubism 4030: 3954: 3931: 3929: 3927: 3434: 3010: 2769: 2767: 2765: 2763: 2761: 2637:Rossetti, Gina M. (13 January 2006). 2525: 2351:addresses the history and meaning of 1832:was first published in an article by 1509:(1972), and a former director of the 1266:The Moon and the Earth (Hina tefatou) 1207:cubes, spheres, cylinders, and cones. 1082: 1071:(1488–1576), and the same subject by 5529:Minotaur Kneeling over Sleeping Girl 4380:. Cambridge University Press, 2001. 4231:"Picasso, Les Demoiselles d'Avignon" 4186:Cotter, Holland (10 February 2011). 2811: 2724:, Metropolitan Museum of Art, 2014, 2069:Picasso drew each of the figures in 2021:(1897–1982), he sold it to designer 1644:Ethnographic Museum of the Trocadero 1459:Female musician from the "Relief of 1430:Although just under 30 inches high, 1005:In 1907, when Picasso began work on 827:was at once a response to Matisse's 745:when Matisse exhibited his painting 607:, 1905, was the reason for the term 194:and verisimilitude for a compressed 6594:Portrait of Daniel-Henry Kahnweiler 5109:Portrait of Daniel-Henry Kahnweiler 4916:Portrait of Angel Fernández de Soto 4528:. New York: Alfred A. Knopf, 2007. 4378:Picasso's Les Demoiselles D'Avignon 3381:The "Discovery" of the African Mask 2747:Picasso's Les Demoiselles d'Avignon 2487:published a two-page article about 13: 9202:Nude Descending a Staircase, No. 2 6730:Still Life with Checked Tablecloth 6698:Nude Descending a Staircase, No. 2 4414:. Rowman & Littlefield, 2006. 4008:The Success and Failure of Picasso 3948: 3935: 3924: 3740: 3033: 2896:: The Art World, 1985–2005, 2006, 2758: 2167:The Success and Failure of Picasso 464:(1905), which recalls the work of 180:features. Picasso said the ethnic 14: 10459: 4699: 4610: 4470:Picasso and the Spanish Tradition 4364:Picasso: Architecture and Vertigo 4292:Edwards, Steve & Wood, Paul. 3849:The Private Life of a Masterpiece 3042:. Encyclopædia Britannica. 2007. 2775:The Private Life of a Masterpiece 2598:vol. LXXI, September/October 1972 2048: 1568:Die Masken und Geheimbunde Afrika 1041:and the relationship between the 931:Musée d'Ethnographie du Trocadéro 743:Société des Artistes Indépendants 659:, and passed into popular usage. 206:confrontational approach seen in 10389: 10388: 5332:Girl with a Red Beret and Pompom 4276:Los Angeles County Museum of Art 4136:, Albert A. Knopf 2007, p. 244, 3630:. Paris: Hachette. p. 120. 3209:Picasso's Apocalyptic Whorehouse 2798: 2643:. University of Missouri Press. 2025:(1853–1929), for 25,000 francs. 1701:An illustration from Jouffret's 1468: 1452: 1350:According to Gauguin biographer 1277: 1254: 974: 953: 403: 379: 164:on Carrer d'Avinyó, a street in 37: 6029:Picasso: Magic, Sex & Death 5456:Bust of a Woman (Marie-Thérèse) 5011:Young Girl with a Flower Basket 4632:Conserving A Modern Masterpiece 4482:, Vol. 19, No. 5, 6 March 1997. 4311:Pablo Picasso: Seeing All Sides 4223: 4205: 4188:"When Picasso Changed His Tune" 4179: 4155: 4146: 4126: 4095: 4080: 4071: 4024: 3987: 3899: 3890: 3881: 3803: 3794: 3776: 3758: 3749: 3734: 3702: 3671: 3646: 3566: 3541: 3532: 3523: 3514: 3501: 3492: 3479: 3452: 3443: 3405: 3396: 3387: 3372: 3363: 3354: 3345: 3336: 3322: 3308: 3299: 3279: 3254: 3245: 3236: 3214: 3201: 3173: 3156: 3140: 3113: 3092: 3069: 3049: 3046:Online. Retrieved 30 July 2007. 3011:Blier, Suzanne Preston (2019). 2974: 2955: 2883: 2863: 2842: 2532:x-ray fluorescence spectroscopy 672:; the purchase of this work by 611:, and the original "Wild Beast" 10156:Grosvenor School of Modern Art 10149:Fourth dimension in literature 7105:Douglas Cooper (art historian) 7071:Daniel Robbins (art historian) 5706:Picasso and the Ballets Russes 5019:Famille d'acrobates avec singe 4543:Pablo Picasso: A Retrospective 4478:. "The Vanishing Brothel", in 3473:10.1080/00043079.1941.11408786 2719:Emily Braun, Rebecca Rabinow, 2712: 2630: 2617: 2409:happened in the last 50 years. 1692: 887:and the grotesque effigies of 693:Blue Nude (Souvenir de Biskra) 16:1907 painting by Pablo Picasso 1: 7173: 5669: 5654: 5193: 4952: 4623:in the MoMA Online Collection 4244: 4092:. Retrieved 24 February 2009. 3942:The Gallatin Research Journal 3489:, Paris, October 1970. 247–70 3170:. Retrieved 18 February 2009. 2623:Sam Hunter and John Jacobus, 966:The Opening of the Fifth Seal 904: 6586:Portrait of Ambroise Vollard 5947:(Juan-les-Pins, Summer 1924) 5101:Portrait of Ambroise Vollard 3957:"Primitivism and the Modern" 2470:and its studies, as well as 2454:Picasso: 40 Years of His Art 2133:, oil on canvas, 116 x 89 cm 1783:in which Jouffret described 1609:said the primitivism of the 552:(1864–1929), and her sister 202:composition while employing 7: 10249:List of avant-garde artists 9226:The Cabinet of Dr. Caligari 7066:Paul Rosenberg (art dealer) 6722:Still Life with Candlestick 6413:Georges Ribemont-Dessaignes 6104:Picasso referendum of Basel 5545:The Dream and Lie of Franco 5316:Woman in Hat and Fur Collar 5260:Nude, Green Leaves and Bust 4963:Acrobat and Young Harlequin 3874:Lettres & Art, Cubistes 3770:www.architecturalrecord.com 2832:"Pablo Picasso | MoMA" 2789:Series 3, Episode 9. 17, 18 2371: 1079:, has also been discussed. 944: 492:Saint Martin and the Beggar 432:, recalls the paintings of 392:Saint Martin and the Beggar 139:The Young Ladies of Avignon 10: 10464: 10428:Paintings by Pablo Picasso 10107:Classical Hollywood cinema 6666:Portrait of Jacques Nayral 6204: 6157:Picasso at the Lapin Agile 5633:Regjeringskvartalet murals 5035:Portrait of Gertrude Stein 4868:Portrait of Jaime Sabartés 4280:Metropolitan Museum of Art 4088:Leo Steinberg selections, 3548:Miller, Arthur I. (2001). 3168:Metropolitan Museum of Art 3153:. Retrieved 20 April 2009. 3151:Metropolitan Museum of Art 2507:Picasso at the Lapin Agile 2427:Jacques Seligman & Co. 2255:A few years after writing 1708: 1588:Les Demoiselles d'Avignon, 1156:Philadelphia Museum of Art 997:Les Demoiselles d' Avignon 989:), 1905, graphite on paper 332:Background and development 328:("The Girls of Avignon"). 234:, the effects of which on 10443:Prostitution in paintings 10370: 10048: 9889: 9757: 9597: 9346: 9335: 9178:Les Demoiselles d'Avignon 9132: 8958: 8518: 8001: 7992: 7869: 7653: 7395: 7386: 7181: 7016: 6982: 6864: 6783: 6748: 6706:The Cathedral (Katedrála) 6610:Le pigeon aux petits pois 6578:Les Demoiselles d'Avignon 6569: 6468: 6268: 6212: 6119:Portrait of Pablo Picasso 6055: 6013:The Adventures of Picasso 5978: 5959:(Vauvenargues, 1958-1962) 5929: 5846: 5810: 5751: 5698: 5682: 5650:Desire Caught by the Tail 5641: 5625: 5598: 5563: 5512: 5464:Tête de femme (Dora Maar) 5447: 5125:Le pigeon aux petits pois 5052:Les Demoiselles d'Avignon 4924:Portrait of Suzanne Bloch 4892:Old Jewish Man with a Boy 4803: 4742: 4707: 4644:Les Demoiselles d'Avignon 4629:Les Demoiselles d'Avignon 4619:Les Demoiselles d'Avignon 4588:Les Demoiselles d'Avignon 4572:Les Demoiselles d'Avignon 4357:The Demoiselles d'Avignon 3709:Jouffret, Esprit (1903). 2653:– via Google Books. 2588:The Philosophical Brothel 2490:Les Demoiselles d'Avignon 2476: 2353:Les Demoiselles d’Avignon 2337:Les Demoiselles d'Avignon 2257:The Philosophical Brothel 2216:The Philosophical Brothel 2201:Les Demoiselles d'Avignon 2172:Les Demoiselles d'Avignon 2119:Nu aux bras levés (Nude), 2106:Les Demoiselles d'Avignon 2092:Les Demoiselles d'Avignon 1990:Les Demoiselles d'Avignon 1804: 1798:Les Demoiselles d'Avignon 1576:L'art nègre? Connais pas! 1527:Les Demoiselles d'Avignon 1487:Les Demoiselles d'Avignon 1409:According to Richardson, 1402:Les Demoiselles d'Avignon 1185:circles, as evidenced by 1055:Les Demoiselles d'Avignon 1035:Opening of the Fifth Seal 1030:Les Demoiselles d'Avignon 1020:Opening of the Fifth Seal 927:Les Demoiselles d’Avignon 816:Les Demoiselles d'Avignon 783:Les Demoiselles d'Avignon 769:Les Demoiselles d'Avignon 478:(1905–06), which recalls 443:Les Demoiselles d'Avignon 440:, who heavily influenced 306:Les Demoiselles d'Avignon 281:Opening of the Fifth Seal 132:Les Demoiselles d'Avignon 119: 101: 93: 81: 73: 63: 55: 45: 36: 28: 24:Les Demoiselles d'Avignon 23: 7963:The Master and Margarita 6511:Stanton Macdonald-Wright 5268:Nude in a Black Armchair 5085:Femme et pot de moutarde 5069:Brick Factory at Tortosa 4376:Green, Christopher, ed. 4264:. Graphic Society, 1962. 3955:Knapp, James F. (1987). 3755:Richardson 1991, 47, 228 3684:. Basic Books. pp. 3579:. Basic Books. pp. 3379:Duerden, Dennis (2000). 3164:The Vision of Saint John 2894:The Triumph of Modernism 2836:The Museum of Modern Art 2565: 2462:Art Institute of Chicago 1985:Le Bordel Philosophique, 1942:From 16 to 31 July 1916 1911:According to Kahnweiler 1838:The Architectural Record 1757:and the concept of the " 1613:derived from the art of 397:Art Institute of Chicago 10438:Paintings of Montmartre 10256:List of modernist poets 10142:Fourth dimension in art 9318:Meshes of the Afternoon 7133:Fourth dimension in art 7054:Daniel-Henry Kahnweiler 6690:Les Joueurs de football 5957:Château of Vauvenargues 5690:Picasso's written works 5220:Woman in a Red Armchair 4971:Family of Saltimbanques 4828:Le Moulin de la Galette 4795:Picasso's written works 4397:. The MIT Press, 1999. 4090:http://www.artchive.com 4031:Chave, Anna C. (1994). 3520:Edwards & Wood, 162 3287:The Art of Paul Gauguin 3057:"The Wild Men of Paris" 3044:Encyclopædia Britannica 2898:Reflections on Matisse, 2855:9 February 2009 at the 2780:5 February 2009 at the 2362:le bordel philosophique 1952:L'Art moderne en France 1663:Daniel-Henry Kahnweiler 1444:African and Iberian art 1246:Gauguin and Primitivism 1027:. The relation between 841:Kramer goes on to say, 823:, which understood the 774:Daniel-Henry Kahnweiler 751:and Derain contributed 698:Baltimore Museum of Art 462:Family of Saltimbanques 301:Le bordel philosophique 218:. John Richardson said 108:. Acquired through the 10448:Proto-Cubist paintings 10423:Painting controversies 10340:Second Viennese School 10082: 10071: 7975:The Sound and the Fury 7879:In Search of Lost Time 7336: 7265: 7254: 7208: 7197: 7094:John Quinn (collector) 6318:Raymond Duchamp-Villon 6092:(2019-2020 exhibition) 6005:The Mystery of Picasso 5894:Diana Widmaier Picasso 5719:The Three-Cornered Hat 5050: 4995:Les Noces de Pierrette 4884:Femme aux Bras Croisés 4812:Le petit picador jaune 4643: 4628: 4618: 4587: 4571: 4480:London Review of Books 4252:Blier, Suzanne Preston 3538:Richardson 1991, p. 27 3487:Gazette des Beaux-Arts 3421:Gazette des Beaux-Arts 3080:Reflections on Matisse 2489: 2411: 2398: 2384: 2346: 2336: 2282: 2197: 2171: 2146: 2134: 2122: 2110: 2105: 2096: 2091: 2066: 1989: 1977: 1964:Salon des Indépendants 1935: 1881:now fueled Matisse's. 1797: 1780:Science and Hypothesis 1706: 1682:Villiard de Honnecourt 1570: 1560: 1556:Desmoiselles d’Avignon 1530: 1526: 1498:colonization of Africa 1486: 1484:This style influenced 1463:", Iberian, ca. 200 BC 1441: 1413:Picasso's interest in 1407: 1401: 1379: 1179: 1163: 1131:Les Grandes Baigneuses 1054: 1039:stylistic similarities 1029: 902: 839: 815: 803:Reflections on Matisse 782: 768: 705: 612: 591: 442: 355: 351:, formerly collection 305: 145:The Brothel of Avignon 131: 10319:Reactionary modernism 10242:List of art movements 7030:Guillaume Apollinaire 5951:Château de Boisgeloup 5870:Maya Widmaier-Picasso 5799:Château de Boisgeloup 5665:The Four Little Girls 5380:Nature morte au poron 5308:Portrait of Dora Maar 5043:Head of a Young Woman 4661:Pablo Picasso, 1907, 4342:. Grove Press, 2003. 4006:Berger, John (1965). 3653:Décimo, Marc (2007). 3126:pp. 24–26, New York: 2699:Visions of the Modern 2562:) that contain iron. 2425:In November 1937 the 2406: 2393: 2379: 2349:Suzanne Preston Blier 2297: 2265: 2177: 2156:Suzanne Preston Blier 2141:Pablo Picasso, 1907, 2140: 2129:Pablo Picasso, 1907, 2128: 2116: 2102: 2088: 2056: 1972: 1938:Public view and title 1917: 1902:Guillaume Apollinaire 1728:Guillaume Apollinaire 1709:Further information: 1700: 1677:Suzanne Preston Blier 1619:catalogue raissonne’s 1580:Guiliaume Apollinaire 1565: 1551: 1519: 1507:The Invisible Present 1422:Until 1987, when the 1411: 1393: 1374: 1165: 1124: 843: 811: 696:, 1907, 92 × 140 cm, 686: 597: 567: 426:Picasso's Rose Period 339: 326:Las chicas de Avignon 251:Bathers with a Turtle 31:The Ladies of Avignon 10163:Hanshinkan Modernism 10019:The Threepenny Opera 9935:Pelléas et Mélisande 6333:Roger de La Fresnaye 6278:Alexander Archipenko 5971:(Mougins, 1961-1973) 5910:Bernard Ruiz-Picasso 5823:Marie-Thérèse Walter 5783:Museo Picasso Málaga 5292:Jeune Fille Endormie 5236:Girl before a Mirror 5093:Girl with a Mandolin 4596:Paul Gauguin: A Life 4434:Race-ing Art History 4424:Leighton, Patricia. 4362:Green, Christopher. 4307:Everdell, William R. 4260:& Pool, Phoebe. 3944:– via Compass. 3847:Monica Bohm-Duchen, 3624:Crespelle, Jean-Paul 3440:Richardson 1991, 451 3369:Richardson 1991, 459 3351:Richardson 1991, 461 3220:Richardson 1991, 430 3182:The Shock of the Old 3062:Architectural Record 2946:Chilver, Ian (Ed.). 2873:. Henry Holt, 2003. 2450:Museum of Modern Art 2445:and Cesar de Hauke. 2435:Museum of Modern Art 2273:representational art 2210:In 1972, art critic 2063:Museum of Modern Art 1828:A photograph of the 1761:" to artists at the 1686:Carl Heinrich Stratz 1654:extraction in 1904. 1535:African tribal masks 1270:Museum of Modern Art 1075:(1577–1640), in the 1047:visually identifying 933:(known later as the 813:After the impact of 560:Rivalry with Matisse 418:Museum of Modern Art 349:Museum of Modern Art 154:Museum of Modern Art 142:, originally titled 106:Museum of Modern Art 10221:International Style 9971:Afternoon of a Faun 9250:Battleship Potemkin 9154:Mont Sainte-Victoir 6546:Alexander Rodchenko 6486:Patrick Henry Bruce 6418:Jeanne Rij-Rousseau 6328:Henri Le Fauconnier 6288:Constantin Brâncuși 6260:Henri Le Fauconnier 5965:(Cannes, 1955-1961) 5963:Villa La Californie 5953:(Gisors, 1930-1937) 5149:Bottle, Glass, Fork 5027:Boy Leading a Horse 4820:Science and Charity 4559:. HNA Books, 1989. 4426:The White Peril and 3800:Richardson 1991, 45 3745:. pp. 106–117. 3529:Richardson 1991, 34 3415:, Paris, 1920; and 3229:D. de la Souchère, 3179:Horsley, Carter B. 3110:Richardson 1991, 43 2614:Richardson 1991, 19 2456:, was organized by 1981:Le Bordel d'Avignon 1711:Mathematics and art 1648:Maurice de Vlaminck 1023:, in 1897 for 1000 894:Notes of a Painter, 885:Le bonheur de vivre 872:Le bonheur de vivre 830:Le bonheur de vivre 761:Armory Show of 1913 731:Le bonheur de vivre 718:Maurice de Vlaminck 702:Armory Show of 1913 574:Le bonheur de vivre 475:Boy Leading a Horse 430:Boy Leading a Horse 413:Boy Leading a Horse 319:Le Bordel d'Avignon 317:("my brothel"), or 311:Le Bordel d'Avignon 10100:Buddhist modernism 10057:American modernism 9983:The Rite of Spring 7951:The Sun Also Rises 7927:The Magic Mountain 7110:Arthur Jerome Eddy 6658:La Femme aux Phlox 6634:La Femme au Cheval 6551:Nadezhda Udaltsova 6363:Jean Lambert-Rucki 6343:Natalia Goncharova 6097:Picasso & Lump 5941:(Montmartre Paris) 5918:José Ruiz y Blasco 5491:(1963, 1964, 1965) 5413:The Fall of Icarus 5396:Les Femmes d'Alger 5189:Reading the Letter 4524:Richardson, John. 4506:Richardson, John. 4450:Lemke, Sieglinde. 4395:A Day with Picasso 4112:p. 475. New York: 3983:– via JSTOR. 3790:. 13 January 1927. 3475:– via JSTOR. 3098:Kramer, pp.162–163 2969:The New York Times 2919:Le Salon d'Automne 2917:Louis Vauxcelles, 2799:Anne, Baldassari. 2673:. Bloomsbury USA. 2526:Painting materials 2385: 2147: 2135: 2123: 2111: 2097: 2067: 1867:, not to speak of 1787:and other complex 1707: 1671:African sculptures 1571: 1543:Iberian sculptures 1531: 1172:Nevertheless, the 1164: 1083:Cézanne and Cubism 1064:Diana and Callisto 801:In his 1992 essay 798:, Georges Braque. 763:in New York City. 706: 613: 592: 356: 10400: 10399: 10128:Experimental film 10044: 10043: 10031:Waiting for Godot 9331: 9330: 7988: 7987: 7891:The Metamorphosis 7141: 7140: 7007:La Maison Cubiste 6856:Chronophotography 6826:Neo-impressionism 6172: 6171: 6111:The Weeping Woman 6083:Fundación Picasso 6021:Surviving Picasso 5922: 5914: 5906: 5898: 5890: 5882: 5874: 5866: 5858: 5838:Geneviève Laporte 5803: 5795: 5787: 5779: 5771: 5763: 5572:Girl from Majorca 5388:Massacre in Korea 5372:The Charnel House 5364:Dora Maar au Chat 5324:The Weeping Woman 5284:Two Girls Reading 5276:Femme à la montre 5212:The Three Dancers 5141:Violon et Raisins 4948:Girl in a Chemise 4900:The Old Guitarist 4844:Child with a Dove 4594:Sweetman, David. 4534:978-0-307-26666-8 4520:978-0-307-26665-1 4502:978-0-307-26666-8 4315:The First Moderns 4142:978-0-307-26666-8 4122:978-0-307-26666-8 4017:978-0-679-73725-4 3743:Einstein, Picasso 3695:978-0-465-01859-8 3681:Einstein, Picasso 3664:978-2-84068-191-5 3637:978-2-01-005322-1 3590:978-0-465-01859-8 3576:Einstein, Picasso 3559:978-0-465-01860-4 3511:, 9 February 2006 3383:. pp. 29–45. 3360:Sweetman, 562–563 3231:Picasso à Antibes 3136:978-0-307-26665-1 2869:Mellow, James R. 2295:Richardson says: 2131:Nu à la serviette 1547:Lawrence Weschler 1511:BBC World Service 1395:Gauguin's statue 1391:Sweetman writes, 1329:Iberian sculpture 915:Iberian sculpture 805:, the art critic 579:Barnes Foundation 472:(1832–1883); and 178:African mask-like 127: 126: 10455: 10392: 10391: 10363: 10361:Vulgar modernism 10356: 10354:Underground film 10349: 10342: 10335: 10328: 10321: 10314: 10307: 10300: 10293: 10286: 10279: 10272: 10265: 10258: 10251: 10244: 10237: 10230: 10223: 10216: 10207: 10200: 10193: 10186: 10179: 10177:Hippie modernism 10172: 10165: 10158: 10151: 10144: 10137: 10130: 10123: 10116: 10109: 10102: 10095: 10093:Bloomsbury Group 10088: 10087: 10077: 10076: 10066: 10059: 10037: 10036: 10025: 10024: 10013: 10012: 10001: 10000: 9989: 9988: 9977: 9976: 9965: 9964: 9953: 9952: 9941: 9940: 9929: 9928: 9917: 9916: 9905: 9904: 9882: 9875: 9868: 9861: 9854: 9847: 9840: 9833: 9826: 9819: 9812: 9805: 9798: 9791: 9784: 9777: 9770: 9750: 9743: 9736: 9729: 9722: 9715: 9708: 9701: 9694: 9687: 9680: 9673: 9666: 9659: 9652: 9645: 9638: 9631: 9624: 9617: 9610: 9590: 9583: 9576: 9569: 9562: 9555: 9548: 9541: 9534: 9527: 9520: 9513: 9506: 9499: 9492: 9485: 9478: 9471: 9464: 9457: 9450: 9443: 9436: 9429: 9422: 9415: 9408: 9401: 9394: 9387: 9380: 9373: 9366: 9359: 9344: 9343: 9324: 9323: 9312: 9311: 9300: 9299: 9290: 9289: 9280: 9279: 9274:Un Chien Andalou 9268: 9267: 9256: 9255: 9244: 9243: 9238:Ballet Mécanique 9232: 9231: 9220: 9219: 9208: 9207: 9196: 9195: 9184: 9183: 9172: 9171: 9166:The Starry Night 9160: 9159: 9148: 9147: 9125: 9118: 9111: 9104: 9097: 9090: 9083: 9076: 9069: 9062: 9055: 9048: 9041: 9034: 9027: 9020: 9013: 9006: 8999: 8992: 8985: 8978: 8971: 8951: 8944: 8937: 8930: 8923: 8916: 8909: 8902: 8895: 8888: 8881: 8874: 8867: 8860: 8853: 8846: 8839: 8832: 8825: 8818: 8811: 8804: 8797: 8790: 8783: 8776: 8769: 8762: 8755: 8748: 8741: 8734: 8727: 8720: 8713: 8706: 8699: 8692: 8685: 8678: 8671: 8664: 8657: 8650: 8643: 8636: 8629: 8622: 8615: 8608: 8601: 8594: 8587: 8580: 8573: 8566: 8559: 8552: 8545: 8538: 8531: 8511: 8504: 8497: 8495:Toulouse-Lautrec 8490: 8483: 8476: 8469: 8462: 8455: 8448: 8441: 8434: 8427: 8420: 8413: 8406: 8399: 8392: 8385: 8378: 8371: 8364: 8357: 8350: 8343: 8336: 8329: 8322: 8315: 8308: 8301: 8294: 8287: 8280: 8273: 8266: 8259: 8252: 8245: 8238: 8231: 8224: 8217: 8210: 8203: 8196: 8189: 8182: 8175: 8168: 8161: 8154: 8147: 8140: 8133: 8126: 8119: 8112: 8105: 8098: 8091: 8084: 8077: 8070: 8063: 8056: 8049: 8042: 8035: 8028: 8021: 8014: 7999: 7998: 7981: 7980: 7969: 7968: 7957: 7956: 7945: 7944: 7933: 7932: 7921: 7920: 7909: 7908: 7897: 7896: 7885: 7884: 7862: 7855: 7848: 7841: 7834: 7827: 7820: 7813: 7806: 7799: 7792: 7785: 7778: 7771: 7764: 7757: 7750: 7743: 7736: 7729: 7722: 7715: 7708: 7701: 7694: 7687: 7680: 7673: 7666: 7646: 7639: 7632: 7625: 7618: 7611: 7604: 7597: 7590: 7583: 7576: 7569: 7562: 7555: 7548: 7541: 7534: 7527: 7520: 7513: 7506: 7499: 7492: 7485: 7478: 7471: 7464: 7457: 7450: 7443: 7436: 7429: 7422: 7415: 7408: 7393: 7392: 7379: 7372: 7365: 7358: 7351: 7342: 7341: 7331: 7324: 7317: 7310: 7301: 7294: 7287: 7278: 7271: 7270: 7260: 7259: 7256:Der Blaue Reiter 7249: 7242: 7235: 7228: 7221: 7214: 7213: 7203: 7202: 7192: 7168: 7161: 7154: 7145: 7144: 7060:Léonce Rosenberg 7024:Louis Vauxcelles 6964:Russian Futurism 6882:Cubist sculpture 6841:Symbolism (arts) 6757:Groupe de femmes 6674:Man on a Balcony 6642:Dancer in a café 6602:The Accordionist 6556:Marie Vassilieff 6521:Kazimir Malevich 6501:Lyonel Feininger 6451: 6398:Louis Marcoussis 6383:Jacques Lipchitz 6199: 6192: 6185: 6176: 6175: 6164:Picasso (crater) 6063:Carles Casagemas 6048:(2018 TV series) 5989:Visit to Picasso 5981:television about 5920: 5912: 5904: 5896: 5888: 5880: 5872: 5864: 5862:Jacqueline Roque 5856: 5818:Fernande Olivier 5801: 5793: 5791:Museo Casa Natal 5785: 5777: 5769: 5761: 5674: 5671: 5659: 5656: 5480:Baboon and Young 5204:The Pipes of Pan 5198: 5195: 5117:The Accordionist 5077:Woman with a Fan 5061:Woman with a Fan 5055: 4979:Garçon à la pipe 4957: 4954: 4694: 4687: 4680: 4671: 4670: 4652:Gelett Burgess, 4646: 4631: 4621: 4590: 4574: 4569:Rubin, William. 4555:Rubin, William. 4272:The Cubist Epoch 4239: 4238: 4227: 4221: 4220: 4209: 4203: 4202: 4200: 4198: 4183: 4177: 4170:Plagens, Peter. 4168: 4162: 4159: 4153: 4150: 4144: 4130: 4124: 4099: 4093: 4084: 4078: 4077:Rubin (1994), 30 4075: 4069: 4068: 4037:The Art Bulletin 4028: 4022: 4021: 4003: 3994: 3991: 3985: 3984: 3967:(1/2): 365–379. 3952: 3946: 3945: 3933: 3922: 3921: 3919: 3917: 3903: 3897: 3894: 3888: 3885: 3879: 3870: 3861: 3844: 3825: 3824: 3821:"Rise of cubism" 3816: 3810: 3807: 3801: 3798: 3792: 3791: 3780: 3774: 3773: 3762: 3756: 3753: 3747: 3746: 3738: 3732: 3731: 3729: 3727: 3706: 3700: 3699: 3675: 3669: 3668: 3650: 3644: 3641: 3619: 3607: 3594: 3570: 3564: 3563: 3545: 3539: 3536: 3530: 3527: 3521: 3518: 3512: 3505: 3499: 3496: 3490: 3483: 3477: 3476: 3456: 3450: 3447: 3441: 3438: 3432: 3409: 3403: 3400: 3394: 3391: 3385: 3384: 3376: 3370: 3367: 3361: 3358: 3352: 3349: 3343: 3340: 3334: 3333: 3326: 3320: 3319: 3312: 3306: 3303: 3297: 3283: 3277: 3270: 3261: 3258: 3252: 3249: 3243: 3240: 3234: 3227: 3221: 3218: 3212: 3205: 3199: 3192: 3186: 3177: 3171: 3160: 3154: 3144: 3138: 3120:Richardson, John 3117: 3111: 3108: 3099: 3096: 3090: 3073: 3067: 3053: 3047: 3037: 3031: 3030: 3018: 3008: 2981: 2978: 2972: 2961:Smith, Roberta. 2959: 2953: 2944: 2931: 2914: 2908: 2887: 2881: 2867: 2861: 2846: 2840: 2839: 2828: 2809: 2808: 2796: 2790: 2771: 2756: 2755: 2753: 2741: 2732: 2716: 2710: 2694: 2685: 2684: 2664: 2655: 2654: 2634: 2628: 2621: 2615: 2612: 2599: 2584: 2492: 2472:Les Demoiselles. 2443:Germain Seligman 2431:Les Demoiselles. 2418:would go to the 2342:20th-century art 2339: 2293:Les Demoiselles. 2174: 2108: 2094: 2075:geometric shapes 2000:une maison close 1992: 1933: 1932:Kahnweiler, 1920 1896:and the painter 1875:Bonheur de vivre 1870:Bonheur de vivre 1819:Fernande Olivier 1800: 1759:fourth dimension 1623:Christian Zervos 1541:, and pre-Roman 1529: 1489: 1472: 1456: 1404: 1389:Les Demoiselles. 1281: 1258: 1187:Ambroise Vollard 1153: 1152: 1148: 1143: 1142: 1138: 1104:The Cubist Epoch 1100:Les Demoiselles. 1090:(1848–1903) and 1057: 1032: 978: 957: 939:Les Demoiselles. 935:Musée de l'Homme 889:Les Demoiselles, 818: 785: 771: 704:in New York City 669:Woman with a Hat 664:Camille Mauclair 625:Louis Vauxcelles 529:and her brother 512:Ambroise Vollard 510:(1865–1951) and 486:(1885–1887) and 468:(1819–1877) and 445: 407: 395:, c. 1597–1600, 383: 308: 134: 41: 21: 20: 10463: 10462: 10458: 10457: 10456: 10454: 10453: 10452: 10403: 10402: 10401: 10396: 10387: 10379: 10366: 10359: 10352: 10347:Structural film 10345: 10338: 10331: 10324: 10317: 10310: 10303: 10298:New Objectivity 10296: 10289: 10284:Neo-romanticism 10282: 10277:Neo-primitivism 10275: 10268: 10261: 10254: 10247: 10240: 10233: 10226: 10219: 10212: 10203: 10196: 10189: 10182: 10175: 10168: 10161: 10154: 10147: 10140: 10133: 10126: 10119: 10112: 10105: 10098: 10091: 10080: 10069: 10062: 10055: 10040: 10034: 10028: 10022: 10016: 10010: 10004: 9998: 9992: 9986: 9980: 9974: 9968: 9962: 9956: 9950: 9944: 9938: 9932: 9926: 9923:Verklärte Nacht 9920: 9914: 9908: 9902: 9896: 9885: 9878: 9871: 9864: 9857: 9850: 9843: 9836: 9829: 9822: 9815: 9808: 9801: 9794: 9787: 9780: 9773: 9766: 9753: 9746: 9739: 9732: 9725: 9718: 9711: 9704: 9697: 9690: 9683: 9676: 9669: 9662: 9655: 9648: 9641: 9634: 9627: 9620: 9613: 9606: 9593: 9586: 9579: 9572: 9565: 9558: 9551: 9544: 9537: 9530: 9523: 9516: 9509: 9502: 9495: 9488: 9481: 9474: 9467: 9460: 9453: 9446: 9439: 9432: 9425: 9418: 9411: 9404: 9397: 9390: 9383: 9376: 9369: 9362: 9355: 9338: 9327: 9321: 9315: 9309: 9303: 9297: 9293: 9287: 9283: 9277: 9271: 9265: 9259: 9253: 9247: 9241: 9235: 9229: 9223: 9217: 9211: 9205: 9199: 9193: 9187: 9181: 9175: 9169: 9163: 9157: 9151: 9145: 9139: 9128: 9121: 9114: 9107: 9100: 9093: 9086: 9079: 9072: 9065: 9058: 9051: 9044: 9037: 9030: 9023: 9016: 9009: 9002: 8995: 8988: 8981: 8974: 8967: 8954: 8947: 8940: 8933: 8926: 8919: 8912: 8905: 8898: 8891: 8884: 8877: 8870: 8863: 8856: 8849: 8842: 8835: 8828: 8821: 8814: 8807: 8800: 8793: 8786: 8779: 8772: 8765: 8758: 8751: 8744: 8737: 8730: 8723: 8716: 8709: 8702: 8695: 8688: 8681: 8674: 8667: 8660: 8653: 8646: 8639: 8632: 8625: 8618: 8611: 8604: 8597: 8590: 8583: 8576: 8569: 8562: 8555: 8548: 8541: 8534: 8527: 8514: 8507: 8500: 8493: 8486: 8479: 8472: 8465: 8458: 8451: 8444: 8437: 8430: 8423: 8416: 8409: 8402: 8395: 8388: 8381: 8374: 8367: 8360: 8353: 8346: 8339: 8332: 8325: 8318: 8311: 8304: 8297: 8290: 8283: 8276: 8269: 8262: 8255: 8248: 8241: 8234: 8227: 8220: 8213: 8206: 8199: 8192: 8185: 8178: 8171: 8164: 8157: 8150: 8143: 8136: 8129: 8122: 8115: 8108: 8101: 8094: 8087: 8080: 8073: 8066: 8059: 8052: 8045: 8038: 8031: 8024: 8017: 8010: 7984: 7978: 7972: 7966: 7960: 7954: 7948: 7942: 7936: 7930: 7924: 7918: 7912: 7906: 7900: 7894: 7888: 7882: 7876: 7865: 7858: 7851: 7844: 7837: 7830: 7823: 7816: 7809: 7802: 7795: 7788: 7781: 7774: 7769:Lowell (Robert) 7767: 7760: 7753: 7746: 7739: 7732: 7725: 7718: 7711: 7704: 7697: 7690: 7683: 7676: 7669: 7662: 7649: 7642: 7635: 7628: 7621: 7614: 7607: 7600: 7593: 7586: 7579: 7572: 7565: 7558: 7551: 7544: 7537: 7530: 7523: 7516: 7509: 7502: 7495: 7488: 7481: 7474: 7467: 7460: 7453: 7446: 7439: 7432: 7425: 7418: 7411: 7404: 7382: 7375: 7368: 7361: 7354: 7347: 7334: 7327: 7320: 7313: 7306: 7297: 7290: 7283: 7274: 7263: 7252: 7245: 7238: 7231: 7224: 7217: 7206: 7195: 7188: 7177: 7172: 7142: 7137: 7122:Blaise Cendrars 7112:(art collector) 7101:(art collector) 7090:(art collector) 7078:(art collector) 7012: 6978: 6860: 6821:Esprit Jouffret 6816:Maurice Princet 6801:Gustave Courbet 6779: 6744: 6738:Three Musicians 6565: 6561:Marie Vorobieff 6464: 6455:Georges Valmier 6445: 6433:Léopold Survage 6408:Francis Picabia 6368:Marie Laurencin 6358:František Kupka 6323:Alexandra Exter 6298:Robert Delaunay 6283:María Blanchard 6264: 6240:Robert Delaunay 6208: 6203: 6173: 6168: 6152:(1977 etchings) 6149:The Blue Guitar 6137:(1973 painting) 6122:(1915 painting) 6051: 5980: 5974: 5931: 5925: 5905:(granddaughter) 5897:(granddaughter) 5842: 5833:Françoise Gilot 5806: 5747: 5694: 5678: 5672: 5657: 5637: 5621: 5594: 5588:Toros y toreros 5559: 5508: 5495:Chicago Picasso 5488:Figure découpée 5443: 5196: 5181:Three Musicians 4955: 4836:The Appointment 4799: 4738: 4703: 4698: 4613: 4608: 4512:Alfred A. Knopf 4494:Alfred A. Knopf 4486:Richardson John 4466:Brown, Jonathan 4393:Klüver, Billy. 4320:Fluegel, Jane. 4268:Cooper, Douglas 4247: 4242: 4229: 4228: 4224: 4211: 4210: 4206: 4196: 4194: 4184: 4180: 4169: 4165: 4160: 4156: 4151: 4147: 4131: 4127: 4114:Alfred A. Knopf 4102:Richardson John 4100: 4096: 4085: 4081: 4076: 4072: 4049:10.2307/3046058 4029: 4025: 4018: 4004: 3997: 3992: 3988: 3953: 3949: 3936:Rogers, Grace. 3934: 3925: 3915: 3913: 3905: 3904: 3900: 3895: 3891: 3886: 3882: 3871: 3864: 3845: 3828: 3817: 3813: 3808: 3804: 3799: 3795: 3782: 3781: 3777: 3764: 3763: 3759: 3754: 3750: 3739: 3735: 3725: 3723: 3707: 3703: 3696: 3678:Miller (2001). 3676: 3672: 3665: 3651: 3647: 3638: 3591: 3573:Miller (2001). 3571: 3567: 3560: 3546: 3542: 3537: 3533: 3528: 3524: 3519: 3515: 3506: 3502: 3497: 3493: 3484: 3480: 3457: 3453: 3448: 3444: 3439: 3435: 3425:Corpus ethnicum 3410: 3406: 3401: 3397: 3392: 3388: 3377: 3373: 3368: 3364: 3359: 3355: 3350: 3346: 3341: 3337: 3328: 3327: 3323: 3314: 3313: 3309: 3304: 3300: 3284: 3280: 3271: 3264: 3259: 3255: 3250: 3246: 3241: 3237: 3228: 3224: 3219: 3215: 3207:Richardson, J. 3206: 3202: 3193: 3189: 3178: 3174: 3161: 3157: 3145: 3141: 3128:Alfred A. Knopf 3118: 3114: 3109: 3102: 3097: 3093: 3074: 3070: 3054: 3050: 3038: 3034: 3027: 3009: 2984: 2979: 2975: 2960: 2956: 2945: 2934: 2915: 2911: 2888: 2884: 2868: 2864: 2857:Wayback Machine 2847: 2843: 2830: 2829: 2812: 2797: 2793: 2782:Wayback Machine 2772: 2759: 2751: 2743: 2742: 2735: 2717: 2713: 2695: 2688: 2681: 2665: 2658: 2651: 2635: 2631: 2622: 2618: 2613: 2602: 2586:Steinberg, L., 2585: 2572: 2568: 2528: 2513:Albert Einstein 2479: 2416:Les Demoiselles 2402:Les Demoiselles 2389:Les Demoiselles 2374: 2289:John Richardson 2261:Les Demoiselles 2228:Rosalind Krauss 2117:Pablo Picasso, 2103:Pablo Picasso, 2089:Pablo Picasso, 2071:Les Demoiselles 2057:Pablo Picasso, 2051: 2039:Les Demoiselles 2030:Les Demoiselles 2012:Les Demoiselles 1968:Le Cri de Paris 1960:Salon d'Automne 1944:Les Demoiselles 1940: 1934: 1931: 1913:Les Demoiselles 1898:Ardengo Soffici 1886:Les Demoiselles 1879:Les Demoiselles 1844:Les Demoiselles 1830:Les Demoiselles 1823:Les Demoiselles 1811:Les Demoiselles 1807: 1767:Esprit Jouffret 1740:Robert Delaunay 1716:Maurice Princet 1713: 1695: 1494: 1493: 1492: 1491: 1481: 1480: 1479: 1473: 1465: 1464: 1457: 1446: 1370:John Richardson 1341:Salon d'Automne 1321:Native American 1309: 1308: 1307: 1306: 1303:Les Demoiselles 1298: 1297: 1296: 1284:Gauguin, 1894, 1282: 1274: 1273: 1272:, New York City 1259: 1248: 1227:Robert Delaunay 1195:Salon d'Automne 1160:Les Demoiselles 1150: 1146: 1145: 1140: 1136: 1135: 1116:Les Demoiselles 1096:Salon d'Automne 1085: 1015:Ignacio Zuloaga 1007:Les Demoiselles 1003: 1002: 1001: 1000: 992: 991: 990: 981:Pablo Picasso, 979: 971: 970: 958: 947: 907: 881:Les Demoiselles 825:Les Demoiselles 617:Salon d'Automne 562: 504:Native American 466:Gustave Courbet 449: 448: 447: 446: 422: 421: 420: 410:Pablo Picasso, 408: 400: 399: 384: 353:Lillie P. Bliss 334: 242:Les Demoiselles 110:Lillie P. Bliss 17: 12: 11: 5: 10461: 10451: 10450: 10445: 10440: 10435: 10430: 10425: 10420: 10415: 10413:1907 paintings 10398: 10397: 10380: 10372: 10371: 10368: 10367: 10365: 10364: 10357: 10350: 10343: 10336: 10329: 10322: 10315: 10308: 10305:Poetic realism 10301: 10294: 10287: 10280: 10273: 10266: 10259: 10252: 10245: 10238: 10235:Late modernity 10231: 10228:Late modernism 10224: 10217: 10210: 10209: 10208: 10201: 10194: 10180: 10173: 10170:High modernism 10166: 10159: 10152: 10145: 10138: 10131: 10124: 10117: 10114:Degenerate art 10110: 10103: 10096: 10089: 10084:Ballets Russes 10078: 10067: 10060: 10052: 10050: 10046: 10045: 10042: 10041: 10039: 10038: 10026: 10014: 10002: 9990: 9978: 9966: 9954: 9942: 9930: 9918: 9906: 9893: 9891: 9887: 9886: 9884: 9883: 9876: 9869: 9862: 9855: 9848: 9841: 9834: 9827: 9820: 9813: 9806: 9799: 9792: 9785: 9778: 9771: 9763: 9761: 9755: 9754: 9752: 9751: 9744: 9737: 9730: 9723: 9716: 9709: 9702: 9695: 9688: 9681: 9674: 9667: 9660: 9653: 9646: 9639: 9632: 9625: 9618: 9611: 9603: 9601: 9595: 9594: 9592: 9591: 9584: 9577: 9570: 9563: 9556: 9549: 9542: 9535: 9528: 9521: 9514: 9507: 9500: 9493: 9486: 9479: 9472: 9465: 9458: 9451: 9444: 9437: 9430: 9423: 9416: 9409: 9402: 9395: 9388: 9381: 9374: 9367: 9360: 9352: 9350: 9341: 9333: 9332: 9329: 9328: 9326: 9325: 9313: 9301: 9291: 9281: 9269: 9257: 9245: 9233: 9221: 9209: 9197: 9185: 9173: 9161: 9149: 9136: 9134: 9130: 9129: 9127: 9126: 9119: 9112: 9105: 9098: 9091: 9084: 9077: 9070: 9063: 9056: 9049: 9042: 9035: 9028: 9021: 9014: 9007: 9000: 8993: 8986: 8979: 8972: 8964: 8962: 8956: 8955: 8953: 8952: 8945: 8938: 8931: 8924: 8917: 8910: 8903: 8896: 8889: 8882: 8875: 8868: 8861: 8854: 8847: 8840: 8833: 8830:Ray (Satyajit) 8826: 8823:Ray (Nicholas) 8819: 8812: 8805: 8798: 8791: 8784: 8777: 8770: 8763: 8756: 8749: 8742: 8735: 8728: 8721: 8714: 8707: 8700: 8693: 8686: 8679: 8672: 8665: 8658: 8651: 8644: 8637: 8630: 8623: 8616: 8609: 8602: 8595: 8588: 8581: 8574: 8567: 8560: 8553: 8546: 8539: 8532: 8524: 8522: 8516: 8515: 8513: 8512: 8505: 8498: 8491: 8484: 8477: 8470: 8463: 8456: 8449: 8442: 8435: 8428: 8421: 8414: 8407: 8400: 8393: 8386: 8379: 8372: 8365: 8358: 8351: 8344: 8337: 8330: 8323: 8316: 8309: 8302: 8295: 8288: 8281: 8274: 8267: 8260: 8253: 8246: 8239: 8232: 8225: 8218: 8211: 8204: 8197: 8190: 8183: 8176: 8169: 8162: 8155: 8148: 8141: 8134: 8127: 8120: 8113: 8106: 8099: 8092: 8085: 8078: 8071: 8064: 8057: 8050: 8043: 8036: 8029: 8022: 8015: 8007: 8005: 7996: 7990: 7989: 7986: 7985: 7983: 7982: 7970: 7958: 7946: 7934: 7922: 7915:The Waste Land 7910: 7898: 7886: 7873: 7871: 7867: 7866: 7864: 7863: 7856: 7849: 7842: 7835: 7828: 7821: 7814: 7807: 7800: 7793: 7786: 7779: 7772: 7765: 7758: 7751: 7744: 7737: 7730: 7723: 7716: 7709: 7702: 7695: 7688: 7681: 7674: 7667: 7659: 7657: 7651: 7650: 7648: 7647: 7640: 7633: 7626: 7619: 7612: 7605: 7598: 7591: 7584: 7577: 7570: 7563: 7556: 7549: 7542: 7535: 7528: 7521: 7514: 7507: 7500: 7493: 7486: 7479: 7472: 7465: 7458: 7451: 7444: 7437: 7430: 7423: 7416: 7409: 7401: 7399: 7390: 7384: 7383: 7381: 7380: 7373: 7366: 7359: 7352: 7345: 7344: 7343: 7325: 7318: 7311: 7304: 7303: 7302: 7288: 7281: 7280: 7279: 7272: 7261: 7243: 7236: 7229: 7226:Constructivism 7222: 7215: 7204: 7193: 7185: 7183: 7179: 7178: 7171: 7170: 7163: 7156: 7148: 7139: 7138: 7136: 7135: 7130: 7125: 7119: 7116:Pierre Reverdy 7113: 7107: 7102: 7099:Leonard Lauder 7096: 7091: 7085: 7079: 7076:Gertrude Stein 7073: 7068: 7063: 7057: 7051: 7050:(poet, critic) 7048:Maurice Raynal 7045: 7039: 7033: 7032:(poet, critic) 7027: 7020: 7018: 7014: 7013: 7011: 7010: 7003: 6995: 6986: 6984: 6980: 6979: 6977: 6976: 6971: 6966: 6961: 6956: 6951: 6949:Constructivism 6946: 6941: 6936: 6931: 6929:Crystal Cubism 6926: 6921: 6916: 6911: 6906: 6901: 6896: 6895: 6894: 6884: 6879: 6874: 6868: 6866: 6862: 6861: 6859: 6858: 6853: 6848: 6843: 6838: 6833: 6828: 6823: 6818: 6813: 6808: 6806:Georges Seurat 6803: 6798: 6793: 6787: 6785: 6781: 6780: 6778: 6777: 6769: 6761: 6752: 6750: 6746: 6745: 6743: 6742: 6734: 6726: 6718: 6710: 6702: 6694: 6686: 6682:Les Baigneuses 6678: 6670: 6662: 6654: 6646: 6638: 6630: 6622: 6614: 6606: 6598: 6590: 6582: 6573: 6571: 6567: 6566: 6564: 6563: 6558: 6553: 6548: 6543: 6541:Morgan Russell 6538: 6533: 6528: 6523: 6518: 6513: 6508: 6503: 6498: 6493: 6488: 6483: 6478: 6472: 6470: 6466: 6465: 6463: 6462: 6460:Jacques Villon 6457: 6452: 6440: 6435: 6430: 6425: 6420: 6415: 6410: 6405: 6403:Jean Metzinger 6400: 6395: 6390: 6385: 6380: 6375: 6370: 6365: 6360: 6355: 6353:Auguste Herbin 6350: 6345: 6340: 6338:Albert Gleizes 6335: 6330: 6325: 6320: 6315: 6310: 6308:Marcel Duchamp 6305: 6303:Sonia Delaunay 6300: 6295: 6290: 6285: 6280: 6274: 6272: 6266: 6265: 6263: 6262: 6257: 6255:Marcel Duchamp 6252: 6247: 6242: 6237: 6235:Albert Gleizes 6232: 6230:Jean Metzinger 6227: 6225:Georges Braque 6222: 6216: 6214: 6210: 6209: 6202: 6201: 6194: 6187: 6179: 6170: 6169: 6167: 6166: 6161: 6153: 6145: 6138: 6130: 6123: 6115: 6106: 6101: 6093: 6085: 6080: 6075: 6070: 6065: 6059: 6057: 6053: 6052: 6050: 6049: 6041: 6033: 6025: 6017: 6009: 6001: 5993: 5984: 5982: 5976: 5975: 5973: 5972: 5969:Château de Vie 5966: 5960: 5954: 5948: 5945:Villa La Vigie 5942: 5935: 5933: 5927: 5926: 5924: 5923: 5915: 5907: 5902:Marina Picasso 5899: 5891: 5886:Paloma Picasso 5883: 5878:Claude Picasso 5875: 5867: 5859: 5854:Olga Khokhlova 5850: 5848: 5844: 5843: 5841: 5840: 5835: 5830: 5825: 5820: 5814: 5812: 5808: 5807: 5805: 5804: 5796: 5788: 5780: 5772: 5764: 5755: 5753: 5749: 5748: 5746: 5745: 5738: 5737: 5736: 5729: 5722: 5715: 5702: 5700: 5699:Ballet designs 5696: 5695: 5693: 5692: 5686: 5684: 5680: 5679: 5677: 5676: 5673: 1947–48 5661: 5645: 5643: 5639: 5638: 5636: 5635: 5629: 5627: 5623: 5622: 5620: 5619: 5611: 5602: 5600: 5596: 5595: 5593: 5592: 5584: 5576: 5567: 5565: 5561: 5560: 5558: 5557: 5549: 5541: 5537:Minotauromachy 5533: 5525: 5516: 5514: 5510: 5509: 5507: 5506: 5498: 5492: 5484: 5476: 5468: 5460: 5451: 5449: 5445: 5444: 5442: 5441: 5437:Femme au Chien 5433: 5425: 5417: 5409: 5401: 5392: 5384: 5376: 5368: 5360: 5352: 5348:Maya with Doll 5344: 5336: 5328: 5320: 5312: 5304: 5296: 5288: 5280: 5272: 5264: 5256: 5248: 5240: 5232: 5224: 5216: 5208: 5200: 5185: 5177: 5169: 5161: 5153: 5145: 5137: 5129: 5121: 5113: 5105: 5097: 5089: 5081: 5073: 5065: 5057: 5047: 5039: 5031: 5023: 5015: 5007: 5003:Au Lapin Agile 4999: 4991: 4987:Girl on a Ball 4983: 4975: 4967: 4959: 4944: 4936: 4928: 4920: 4912: 4904: 4896: 4888: 4880: 4872: 4864: 4856: 4848: 4840: 4832: 4824: 4816: 4807: 4805: 4801: 4800: 4798: 4797: 4792: 4787: 4782: 4777: 4772: 4767: 4762: 4757: 4752: 4746: 4744: 4743:Lists of works 4740: 4739: 4737: 4736: 4730: 4724: 4718: 4711: 4709: 4705: 4704: 4697: 4696: 4689: 4682: 4674: 4668: 4667: 4658: 4649: 4639:New York Times 4634: 4624: 4612: 4611:External links 4609: 4607: 4606: 4592: 4583: 4575:. MoMA, 1994. 4567: 4553: 4545:. MoMA, 1980. 4539:Rubin, William 4536: 4522: 4504: 4483: 4476:Nochlin, Linda 4473: 4462: 4448: 4422: 4408:Kramer, Hilton 4405: 4391: 4374: 4360: 4350: 4336: 4318: 4304: 4290: 4265: 4258:Blunt, Anthony 4255: 4248: 4246: 4243: 4241: 4240: 4222: 4204: 4192:New York Times 4178: 4163: 4154: 4145: 4125: 4094: 4079: 4070: 4043:(4): 597–611. 4023: 4016: 3995: 3986: 3973:10.2307/303444 3947: 3923: 3898: 3889: 3880: 3862: 3826: 3811: 3802: 3793: 3775: 3757: 3748: 3733: 3701: 3694: 3670: 3663: 3645: 3643: 3642: 3636: 3620: 3608: 3595:Miller cites: 3589: 3565: 3558: 3540: 3531: 3522: 3513: 3500: 3491: 3478: 3467:(3): 191–198. 3451: 3442: 3433: 3404: 3395: 3386: 3371: 3362: 3353: 3344: 3335: 3321: 3307: 3298: 3278: 3262: 3253: 3244: 3235: 3222: 3213: 3200: 3187: 3172: 3155: 3139: 3112: 3100: 3091: 3076:Kramer, Hilton 3068: 3048: 3040:Matisse, Henri 3032: 3026:978-1478000198 3025: 2982: 2980:Elderfield, 43 2973: 2954: 2932: 2909: 2890:Kramer, Hilton 2882: 2862: 2841: 2810: 2805:FranceArchives 2791: 2757: 2733: 2711: 2697:John Golding, 2686: 2679: 2656: 2649: 2629: 2616: 2600: 2569: 2567: 2564: 2548:cadmium yellow 2527: 2524: 2495:Holland Cotter 2481:In July 2007, 2478: 2475: 2458:Alfred H. Barr 2381:Jacques Doucet 2373: 2370: 2050: 2049:Interpretation 2047: 2023:Jacques Doucet 1939: 1936: 1929: 1834:Gelett Burgess 1806: 1803: 1755:Henri Poincaré 1748:Marcel Duchamp 1736:Jean Metzinger 1694: 1691: 1684:and a book by 1539:art of Oceania 1483: 1482: 1474: 1467: 1466: 1458: 1451: 1450: 1449: 1448: 1447: 1445: 1442: 1352:David Sweetman 1300: 1299: 1283: 1276: 1275: 1260: 1253: 1252: 1251: 1250: 1249: 1247: 1244: 1108:Douglas Cooper 1084: 1081: 994: 993: 980: 973: 972: 959: 952: 951: 950: 949: 948: 946: 943: 919:art of Oceania 906: 903: 736:The Golden Age 710:Georges Braque 637:Henri Rousseau 599:Henri Rousseau 561: 558: 527:Gertrude Stein 424: 423: 409: 402: 401: 385: 378: 377: 376: 375: 374: 333: 330: 323:bowdlerization 228:Georges Braque 125: 124: 121: 117: 116: 103: 99: 98: 95: 91: 90: 85: 79: 78: 75: 71: 70: 65: 61: 60: 57: 53: 52: 47: 43: 42: 34: 33: 26: 25: 15: 9: 6: 4: 3: 2: 10460: 10449: 10446: 10444: 10441: 10439: 10436: 10434: 10431: 10429: 10426: 10424: 10421: 10419: 10416: 10414: 10411: 10410: 10408: 10395: 10385: 10384: 10383:Postmodernism 10378: 10377: 10369: 10362: 10358: 10355: 10351: 10348: 10344: 10341: 10337: 10334: 10330: 10327: 10326:Metamodernism 10323: 10320: 10316: 10313: 10309: 10306: 10302: 10299: 10295: 10292: 10291:New Hollywood 10288: 10285: 10281: 10278: 10274: 10271: 10267: 10264: 10260: 10257: 10253: 10250: 10246: 10243: 10239: 10236: 10232: 10229: 10225: 10222: 10218: 10215: 10211: 10206: 10202: 10199: 10195: 10192: 10188: 10187: 10185: 10184:Impressionism 10181: 10178: 10174: 10171: 10167: 10164: 10160: 10157: 10153: 10150: 10146: 10143: 10139: 10136: 10132: 10129: 10125: 10122: 10118: 10115: 10111: 10108: 10104: 10101: 10097: 10094: 10090: 10086: 10085: 10079: 10075: 10074: 10068: 10065: 10061: 10058: 10054: 10053: 10051: 10047: 10033: 10032: 10027: 10021: 10020: 10015: 10009: 10008: 10003: 9997: 9996: 9991: 9985: 9984: 9979: 9973: 9972: 9967: 9961: 9960: 9955: 9949: 9948: 9943: 9937: 9936: 9931: 9925: 9924: 9919: 9913: 9912: 9907: 9901: 9900: 9895: 9894: 9892: 9888: 9881: 9877: 9874: 9870: 9867: 9863: 9860: 9856: 9853: 9849: 9846: 9842: 9839: 9835: 9832: 9828: 9825: 9821: 9818: 9814: 9811: 9807: 9804: 9800: 9797: 9793: 9790: 9786: 9783: 9779: 9776: 9772: 9769: 9765: 9764: 9762: 9760: 9756: 9749: 9745: 9742: 9738: 9735: 9731: 9728: 9724: 9721: 9717: 9714: 9710: 9707: 9703: 9700: 9696: 9693: 9689: 9686: 9682: 9679: 9675: 9672: 9668: 9665: 9661: 9658: 9654: 9651: 9647: 9644: 9640: 9637: 9633: 9630: 9626: 9623: 9619: 9616: 9612: 9609: 9605: 9604: 9602: 9600: 9596: 9589: 9585: 9582: 9578: 9575: 9571: 9568: 9564: 9561: 9557: 9554: 9550: 9547: 9543: 9540: 9536: 9533: 9529: 9526: 9522: 9519: 9515: 9512: 9508: 9505: 9501: 9498: 9494: 9491: 9487: 9484: 9480: 9477: 9473: 9470: 9466: 9463: 9459: 9456: 9452: 9449: 9445: 9442: 9438: 9435: 9431: 9428: 9424: 9421: 9417: 9414: 9410: 9407: 9403: 9400: 9396: 9393: 9389: 9386: 9382: 9379: 9375: 9372: 9368: 9365: 9361: 9358: 9354: 9353: 9351: 9349: 9345: 9342: 9340: 9334: 9320: 9319: 9314: 9308: 9307: 9302: 9296: 9292: 9286: 9282: 9276: 9275: 9270: 9264: 9263: 9258: 9252: 9251: 9246: 9240: 9239: 9234: 9228: 9227: 9222: 9216: 9215: 9210: 9204: 9203: 9198: 9192: 9191: 9186: 9180: 9179: 9174: 9168: 9167: 9162: 9156: 9155: 9150: 9144: 9143: 9138: 9137: 9135: 9131: 9124: 9120: 9117: 9113: 9110: 9106: 9103: 9099: 9096: 9092: 9089: 9085: 9082: 9078: 9075: 9071: 9068: 9064: 9061: 9057: 9054: 9050: 9047: 9043: 9040: 9036: 9033: 9029: 9026: 9022: 9019: 9015: 9012: 9011:Hundertwasser 9008: 9005: 9001: 8998: 8994: 8991: 8987: 8984: 8980: 8977: 8973: 8970: 8966: 8965: 8963: 8961: 8957: 8950: 8946: 8943: 8939: 8936: 8932: 8929: 8925: 8922: 8918: 8915: 8911: 8908: 8904: 8901: 8897: 8894: 8890: 8887: 8883: 8880: 8876: 8873: 8869: 8866: 8862: 8859: 8855: 8852: 8848: 8845: 8841: 8838: 8834: 8831: 8827: 8824: 8820: 8817: 8813: 8810: 8806: 8803: 8799: 8796: 8792: 8789: 8785: 8782: 8778: 8775: 8771: 8768: 8764: 8761: 8757: 8754: 8750: 8747: 8743: 8740: 8736: 8733: 8729: 8726: 8722: 8719: 8715: 8712: 8708: 8705: 8701: 8698: 8694: 8691: 8687: 8684: 8680: 8677: 8673: 8670: 8666: 8663: 8659: 8656: 8652: 8649: 8645: 8642: 8638: 8635: 8631: 8628: 8624: 8621: 8617: 8614: 8610: 8607: 8603: 8600: 8596: 8593: 8589: 8586: 8582: 8579: 8575: 8572: 8568: 8565: 8561: 8558: 8554: 8551: 8547: 8544: 8540: 8537: 8533: 8530: 8526: 8525: 8523: 8521: 8517: 8510: 8506: 8503: 8499: 8496: 8492: 8489: 8485: 8482: 8478: 8475: 8471: 8468: 8464: 8461: 8457: 8454: 8450: 8447: 8443: 8440: 8436: 8433: 8429: 8426: 8422: 8419: 8415: 8412: 8408: 8405: 8401: 8398: 8394: 8391: 8387: 8384: 8380: 8377: 8373: 8370: 8366: 8363: 8359: 8356: 8352: 8349: 8345: 8342: 8338: 8335: 8331: 8328: 8324: 8321: 8317: 8314: 8310: 8307: 8303: 8300: 8296: 8293: 8289: 8286: 8282: 8279: 8275: 8272: 8268: 8265: 8261: 8258: 8254: 8251: 8247: 8244: 8240: 8237: 8233: 8230: 8226: 8223: 8219: 8216: 8212: 8209: 8205: 8202: 8198: 8195: 8191: 8188: 8184: 8181: 8177: 8174: 8170: 8167: 8163: 8160: 8156: 8153: 8149: 8146: 8142: 8139: 8135: 8132: 8128: 8125: 8121: 8118: 8114: 8111: 8107: 8104: 8100: 8097: 8093: 8090: 8086: 8083: 8079: 8076: 8072: 8069: 8065: 8062: 8058: 8055: 8051: 8048: 8044: 8041: 8037: 8034: 8030: 8027: 8023: 8020: 8016: 8013: 8009: 8008: 8006: 8004: 8000: 7997: 7995: 7991: 7977: 7976: 7971: 7965: 7964: 7959: 7953: 7952: 7947: 7941: 7940: 7935: 7929: 7928: 7923: 7917: 7916: 7911: 7905: 7904: 7899: 7893: 7892: 7887: 7881: 7880: 7875: 7874: 7872: 7868: 7861: 7857: 7854: 7850: 7847: 7843: 7840: 7836: 7833: 7829: 7826: 7822: 7819: 7815: 7812: 7808: 7805: 7801: 7798: 7794: 7791: 7787: 7784: 7780: 7777: 7773: 7770: 7766: 7763: 7759: 7756: 7752: 7749: 7745: 7742: 7738: 7735: 7731: 7728: 7724: 7721: 7717: 7714: 7710: 7707: 7703: 7700: 7696: 7693: 7689: 7686: 7682: 7679: 7675: 7672: 7668: 7665: 7661: 7660: 7658: 7656: 7652: 7645: 7641: 7638: 7634: 7631: 7627: 7624: 7620: 7617: 7613: 7610: 7606: 7603: 7599: 7596: 7592: 7589: 7585: 7582: 7578: 7575: 7571: 7568: 7564: 7561: 7557: 7554: 7550: 7547: 7543: 7540: 7536: 7533: 7529: 7526: 7522: 7519: 7515: 7512: 7508: 7505: 7501: 7498: 7494: 7491: 7487: 7484: 7480: 7477: 7473: 7470: 7466: 7463: 7459: 7456: 7452: 7449: 7445: 7442: 7438: 7435: 7431: 7428: 7424: 7421: 7417: 7414: 7410: 7407: 7403: 7402: 7400: 7398: 7394: 7391: 7389: 7388:Literary arts 7385: 7378: 7374: 7371: 7367: 7364: 7360: 7357: 7353: 7350: 7346: 7340: 7339: 7333: 7332: 7330: 7329:Neoplasticism 7326: 7323: 7319: 7316: 7312: 7309: 7305: 7300: 7296: 7295: 7293: 7292:Functionalism 7289: 7286: 7282: 7277: 7273: 7269: 7268: 7262: 7258: 7257: 7251: 7250: 7248: 7247:Expressionism 7244: 7241: 7237: 7234: 7230: 7227: 7223: 7220: 7219:Ashcan School 7216: 7212: 7211: 7205: 7201: 7200: 7194: 7191: 7187: 7186: 7184: 7180: 7176: 7169: 7164: 7162: 7157: 7155: 7150: 7149: 7146: 7134: 7131: 7129: 7126: 7123: 7120: 7117: 7114: 7111: 7108: 7106: 7103: 7100: 7097: 7095: 7092: 7089: 7086: 7083: 7080: 7077: 7074: 7072: 7069: 7067: 7064: 7061: 7058: 7055: 7052: 7049: 7046: 7043: 7040: 7037: 7034: 7031: 7028: 7025: 7022: 7021: 7019: 7015: 7009: 7008: 7004: 7001: 7000: 6996: 6993: 6992: 6988: 6987: 6985: 6981: 6975: 6972: 6970: 6967: 6965: 6962: 6960: 6957: 6955: 6952: 6950: 6947: 6945: 6942: 6940: 6937: 6935: 6932: 6930: 6927: 6925: 6922: 6920: 6917: 6915: 6912: 6910: 6907: 6905: 6904:Orphism (art) 6902: 6900: 6897: 6893: 6890: 6889: 6888: 6885: 6883: 6880: 6878: 6877:Cubo-Futurism 6875: 6873: 6870: 6869: 6867: 6863: 6857: 6854: 6852: 6849: 6847: 6844: 6842: 6839: 6837: 6834: 6832: 6829: 6827: 6824: 6822: 6819: 6817: 6814: 6812: 6809: 6807: 6804: 6802: 6799: 6797: 6794: 6792: 6789: 6788: 6786: 6782: 6775: 6774: 6770: 6767: 6766: 6762: 6759: 6758: 6754: 6753: 6751: 6747: 6740: 6739: 6735: 6732: 6731: 6727: 6724: 6723: 6719: 6716: 6715: 6711: 6708: 6707: 6703: 6700: 6699: 6695: 6692: 6691: 6687: 6684: 6683: 6679: 6676: 6675: 6671: 6668: 6667: 6663: 6660: 6659: 6655: 6652: 6651: 6650:L'Oiseau bleu 6647: 6644: 6643: 6639: 6636: 6635: 6631: 6628: 6627: 6623: 6620: 6619: 6615: 6612: 6611: 6607: 6604: 6603: 6599: 6596: 6595: 6591: 6588: 6587: 6583: 6580: 6579: 6575: 6574: 6572: 6568: 6562: 6559: 6557: 6554: 6552: 6549: 6547: 6544: 6542: 6539: 6537: 6534: 6532: 6531:Lyubov Popova 6529: 6527: 6524: 6522: 6519: 6517: 6514: 6512: 6509: 6507: 6504: 6502: 6499: 6497: 6494: 6492: 6489: 6487: 6484: 6482: 6479: 6477: 6476:Giacomo Balla 6474: 6473: 6471: 6467: 6461: 6458: 6456: 6453: 6449: 6444: 6443:Henry Valensi 6441: 6439: 6436: 6434: 6431: 6429: 6428:Gino Severini 6426: 6424: 6421: 6419: 6416: 6414: 6411: 6409: 6406: 6404: 6401: 6399: 6396: 6394: 6393:Jean Marchand 6391: 6389: 6386: 6384: 6381: 6379: 6378:Fernand Léger 6376: 6374: 6373:Henri Laurens 6371: 6369: 6366: 6364: 6361: 6359: 6356: 6354: 6351: 6349: 6346: 6344: 6341: 6339: 6336: 6334: 6331: 6329: 6326: 6324: 6321: 6319: 6316: 6314: 6313:Pierre Dumont 6311: 6309: 6306: 6304: 6301: 6299: 6296: 6294: 6291: 6289: 6286: 6284: 6281: 6279: 6276: 6275: 6273: 6271: 6267: 6261: 6258: 6256: 6253: 6251: 6250:Fernand Léger 6248: 6246: 6243: 6241: 6238: 6236: 6233: 6231: 6228: 6226: 6223: 6221: 6220:Pablo Picasso 6218: 6217: 6215: 6211: 6207: 6200: 6195: 6193: 6188: 6186: 6181: 6180: 6177: 6165: 6162: 6159: 6158: 6154: 6151: 6150: 6146: 6144:" (1976 song) 6143: 6142:Pablo Picasso 6139: 6136: 6135: 6131: 6129:" (1924 poem) 6128: 6124: 6121: 6120: 6116: 6114: 6112: 6107: 6105: 6102: 6099: 6098: 6094: 6091: 6090: 6086: 6084: 6081: 6079: 6076: 6074: 6073:Lydia Corbett 6071: 6069: 6066: 6064: 6061: 6060: 6058: 6054: 6047: 6046: 6042: 6039: 6038: 6034: 6031: 6030: 6026: 6023: 6022: 6018: 6015: 6014: 6010: 6007: 6006: 6002: 5999: 5998: 5994: 5991: 5990: 5986: 5985: 5983: 5977: 5970: 5967: 5964: 5961: 5958: 5955: 5952: 5949: 5946: 5943: 5940: 5939:Bateau-Lavoir 5937: 5936: 5934: 5928: 5919: 5916: 5911: 5908: 5903: 5900: 5895: 5892: 5887: 5884: 5879: 5876: 5871: 5868: 5865:(second wife) 5863: 5860: 5855: 5852: 5851: 5849: 5845: 5839: 5836: 5834: 5831: 5829: 5826: 5824: 5821: 5819: 5816: 5815: 5813: 5809: 5800: 5797: 5792: 5789: 5784: 5781: 5776: 5775:Museu Picasso 5773: 5768: 5767:Musée Picasso 5765: 5760: 5759:Musée Picasso 5757: 5756: 5754: 5750: 5744: 5743: 5739: 5735: 5734: 5733:Le Train Bleu 5730: 5728: 5727: 5723: 5721: 5720: 5716: 5714: 5713: 5709: 5708: 5707: 5704: 5703: 5701: 5697: 5691: 5688: 5687: 5685: 5681: 5667: 5666: 5662: 5652: 5651: 5647: 5646: 5644: 5640: 5634: 5631: 5630: 5628: 5624: 5617: 5616: 5612: 5609: 5608: 5604: 5603: 5601: 5597: 5590: 5589: 5585: 5582: 5581: 5577: 5574: 5573: 5569: 5568: 5566: 5562: 5555: 5554: 5550: 5547: 5546: 5542: 5539: 5538: 5534: 5531: 5530: 5526: 5523: 5522: 5521:Vollard Suite 5518: 5517: 5515: 5511: 5504: 5503: 5499: 5496: 5493: 5490: 5489: 5485: 5482: 5481: 5477: 5474: 5473: 5469: 5466: 5465: 5461: 5458: 5457: 5453: 5452: 5450: 5446: 5439: 5438: 5434: 5431: 5430: 5426: 5423: 5422: 5418: 5415: 5414: 5410: 5407: 5406: 5402: 5399: 5397: 5393: 5390: 5389: 5385: 5382: 5381: 5377: 5374: 5373: 5369: 5366: 5365: 5361: 5358: 5357: 5353: 5350: 5349: 5345: 5342: 5341: 5337: 5334: 5333: 5329: 5326: 5325: 5321: 5318: 5317: 5313: 5310: 5309: 5305: 5302: 5301: 5297: 5294: 5293: 5289: 5286: 5285: 5281: 5278: 5277: 5273: 5270: 5269: 5265: 5262: 5261: 5257: 5254: 5253: 5249: 5246: 5245: 5241: 5238: 5237: 5233: 5230: 5229: 5225: 5222: 5221: 5217: 5214: 5213: 5209: 5206: 5205: 5201: 5191: 5190: 5186: 5183: 5182: 5178: 5175: 5174: 5170: 5167: 5166: 5162: 5159: 5158: 5154: 5151: 5150: 5146: 5143: 5142: 5138: 5135: 5134: 5130: 5127: 5126: 5122: 5119: 5118: 5114: 5111: 5110: 5106: 5103: 5102: 5098: 5095: 5094: 5090: 5087: 5086: 5082: 5079: 5078: 5074: 5071: 5070: 5066: 5063: 5062: 5058: 5054: 5053: 5048: 5045: 5044: 5040: 5037: 5036: 5032: 5029: 5028: 5024: 5021: 5020: 5016: 5013: 5012: 5008: 5005: 5004: 5000: 4997: 4996: 4992: 4989: 4988: 4984: 4981: 4980: 4976: 4973: 4972: 4968: 4965: 4964: 4960: 4950: 4949: 4945: 4942: 4941: 4940:Woman Ironing 4937: 4934: 4933: 4929: 4926: 4925: 4921: 4918: 4917: 4913: 4910: 4909: 4905: 4902: 4901: 4897: 4894: 4893: 4889: 4886: 4885: 4881: 4878: 4877: 4876:The Blue Room 4873: 4870: 4869: 4865: 4862: 4861: 4857: 4854: 4853: 4849: 4846: 4845: 4841: 4838: 4837: 4833: 4830: 4829: 4825: 4822: 4821: 4817: 4814: 4813: 4809: 4808: 4806: 4802: 4796: 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4766: 4763: 4761: 4758: 4756: 4753: 4751: 4748: 4747: 4745: 4741: 4734: 4731: 4728: 4725: 4722: 4719: 4716: 4713: 4712: 4710: 4706: 4702: 4701:Pablo Picasso 4695: 4690: 4688: 4683: 4681: 4676: 4675: 4672: 4666: 4664: 4659: 4657: 4655: 4650: 4648: 4645: 4640: 4635: 4633: 4630: 4625: 4622: 4620: 4615: 4614: 4605: 4604:0-684-80941-9 4601: 4597: 4593: 4589: 4584: 4582: 4581:0-87070-519-9 4578: 4573: 4568: 4566: 4565:0-8109-6065-6 4562: 4558: 4554: 4552: 4551:0-87070-519-9 4548: 4544: 4540: 4537: 4535: 4531: 4527: 4523: 4521: 4517: 4513: 4509: 4505: 4503: 4499: 4495: 4491: 4487: 4484: 4481: 4477: 4474: 4471: 4467: 4463: 4461: 4460:0-19-510403-X 4457: 4453: 4449: 4447: 4443: 4442:0-415-92760-9 4439: 4435: 4431: 4427: 4423: 4421: 4420:0-15-666370-8 4417: 4413: 4409: 4406: 4404: 4403:0-262-61147-3 4400: 4396: 4392: 4390: 4387: 4383: 4379: 4375: 4373: 4372:0-300-10412-X 4369: 4365: 4361: 4358: 4354: 4353:Golding, John 4351: 4349: 4348:0-8021-3997-3 4345: 4341: 4338:Franck, Dan. 4337: 4335: 4334:0-87070-519-9 4331: 4327: 4326:Pablo Picasso 4323: 4319: 4316: 4312: 4308: 4305: 4303: 4299: 4295: 4291: 4289: 4288:0-87587-041-4 4285: 4281: 4277: 4273: 4269: 4266: 4263: 4259: 4256: 4253: 4250: 4249: 4236: 4232: 4226: 4218: 4214: 4208: 4193: 4189: 4182: 4175: 4174: 4167: 4158: 4149: 4143: 4139: 4135: 4129: 4123: 4119: 4115: 4111: 4107: 4103: 4098: 4091: 4087: 4083: 4074: 4066: 4062: 4058: 4054: 4050: 4046: 4042: 4038: 4034: 4027: 4019: 4013: 4009: 4002: 4000: 3990: 3982: 3978: 3974: 3970: 3966: 3962: 3958: 3951: 3943: 3939: 3932: 3930: 3928: 3912: 3908: 3902: 3893: 3884: 3877: 3875: 3869: 3867: 3860: 3859:9780520233782 3856: 3852: 3850: 3843: 3841: 3839: 3837: 3835: 3833: 3831: 3822: 3815: 3806: 3797: 3789: 3785: 3779: 3771: 3767: 3761: 3752: 3744: 3737: 3722: 3718: 3714: 3713: 3705: 3697: 3691: 3687: 3683: 3682: 3674: 3666: 3660: 3656: 3649: 3639: 3633: 3629: 3625: 3621: 3617: 3613: 3612:Salmon, André 3609: 3605: 3601: 3600:Salmon, André 3597: 3596: 3592: 3586: 3582: 3578: 3577: 3569: 3561: 3555: 3551: 3544: 3535: 3526: 3517: 3510: 3509:The Economist 3504: 3495: 3488: 3482: 3474: 3470: 3466: 3462: 3455: 3449:Barr 1939, 55 3446: 3437: 3430: 3426: 3422: 3418: 3414: 3408: 3399: 3390: 3382: 3375: 3366: 3357: 3348: 3342:Sweetman, 563 3339: 3331: 3325: 3317: 3311: 3302: 3296: 3295:0-8212-1723-2 3292: 3288: 3282: 3275: 3272:Joann Moser, 3269: 3267: 3257: 3251:Cooper, 20–27 3248: 3239: 3232: 3226: 3217: 3210: 3204: 3197: 3191: 3184: 3183: 3176: 3169: 3165: 3159: 3152: 3148: 3143: 3137: 3133: 3129: 3125: 3121: 3116: 3107: 3105: 3095: 3089: 3088:0-15-666370-8 3085: 3081: 3077: 3072: 3066: 3063: 3060: 3058: 3052: 3045: 3041: 3036: 3028: 3022: 3017: 3016: 3007: 3005: 3003: 3001: 2999: 2997: 2995: 2993: 2991: 2989: 2987: 2977: 2970: 2966: 2965: 2958: 2951: 2950: 2943: 2941: 2939: 2937: 2930: 2926: 2922: 2920: 2913: 2907: 2906:0-15-666370-8 2903: 2899: 2895: 2891: 2886: 2880: 2879:0-8050-7351-5 2876: 2872: 2866: 2859: 2858: 2854: 2851: 2845: 2837: 2833: 2827: 2825: 2823: 2821: 2819: 2817: 2815: 2806: 2802: 2795: 2788: 2784: 2783: 2779: 2776: 2770: 2768: 2766: 2764: 2762: 2750: 2748: 2740: 2738: 2731: 2727: 2723: 2722: 2715: 2709: 2705: 2701: 2700: 2693: 2691: 2682: 2680:9781632867186 2676: 2672: 2671: 2663: 2661: 2652: 2650:9780826265036 2646: 2642: 2641: 2633: 2626: 2620: 2611: 2609: 2607: 2605: 2597: 2593: 2589: 2583: 2581: 2579: 2577: 2575: 2570: 2563: 2561: 2557: 2556:emerald green 2553: 2549: 2545: 2541: 2537: 2533: 2523: 2521: 2519: 2514: 2510: 2508: 2503: 2498: 2496: 2491: 2486: 2485: 2474: 2473: 2469: 2468: 2463: 2459: 2455: 2451: 2446: 2444: 2440: 2436: 2432: 2428: 2423: 2421: 2417: 2410: 2405: 2403: 2397: 2392: 2390: 2382: 2378: 2369: 2367: 2363: 2357: 2354: 2350: 2345: 2343: 2338: 2333: 2329: 2325: 2321: 2317: 2314: 2310: 2305: 2302: 2296: 2294: 2290: 2287: 2281: 2278: 2274: 2270: 2264: 2262: 2258: 2253: 2251: 2247: 2246:William Rubin 2243: 2242: 2237: 2231: 2229: 2225: 2220: 2217: 2214:in his essay 2213: 2212:Leo Steinberg 2208: 2206: 2202: 2196: 2193: 2189: 2185: 2181: 2176: 2173: 2169:, interprets 2168: 2164: 2159: 2157: 2153: 2144: 2139: 2132: 2127: 2120: 2115: 2107: 2101: 2093: 2087: 2083: 2080: 2076: 2072: 2064: 2060: 2055: 2046: 2042: 2040: 2035: 2031: 2026: 2024: 2020: 2015: 2013: 2007: 2005: 2001: 1997: 1991: 1986: 1982: 1976: 1971: 1969: 1965: 1961: 1958:. The larger 1957: 1953: 1949: 1948:Salon d'Antin 1945: 1928: 1924: 1921: 1916: 1914: 1909: 1907: 1903: 1899: 1895: 1891: 1890:William Rubin 1887: 1882: 1880: 1876: 1872: 1871: 1866: 1865: 1860: 1855: 1853: 1852:Cahiers d'art 1849: 1845: 1841: 1839: 1835: 1831: 1826: 1824: 1820: 1816: 1812: 1802: 1799: 1794: 1790: 1786: 1782: 1781: 1776: 1772: 1768: 1764: 1763:Bateau-Lavoir 1760: 1756: 1751: 1749: 1745: 1741: 1737: 1733: 1729: 1725: 1721: 1720:mathematician 1717: 1712: 1704: 1699: 1690: 1687: 1683: 1678: 1674: 1672: 1668: 1664: 1660: 1655: 1653: 1649: 1645: 1641: 1640:Andre Malraux 1637: 1632: 1628: 1624: 1620: 1616: 1615:Côte d'Ivoire 1612: 1608: 1603: 1601: 1597: 1593: 1589: 1585: 1584:Leo Frobenius 1581: 1577: 1569: 1564: 1559: 1557: 1550: 1548: 1544: 1540: 1536: 1528: 1523: 1518: 1514: 1512: 1508: 1504: 1499: 1488: 1477: 1471: 1462: 1455: 1440: 1437: 1433: 1429: 1425: 1424:Musée d'Orsay 1421: 1416: 1410: 1406: 1403: 1398: 1392: 1390: 1386: 1385: 1378: 1373: 1371: 1366: 1365: 1361: 1357: 1353: 1348: 1344: 1342: 1338: 1334: 1330: 1326: 1322: 1318: 1314: 1304: 1294: 1293:Musée d'Orsay 1290: 1288: 1280: 1271: 1267: 1263: 1257: 1243: 1241: 1236: 1232: 1231:Le Fauconnier 1228: 1224: 1220: 1216: 1212: 1208: 1204: 1199: 1196: 1192: 1188: 1184: 1178: 1175: 1170: 1161: 1157: 1133: 1132: 1127: 1123: 1119: 1117: 1113: 1109: 1105: 1101: 1097: 1093: 1089: 1080: 1078: 1074: 1070: 1066: 1065: 1059: 1056: 1050: 1048: 1044: 1040: 1036: 1031: 1026: 1022: 1021: 1016: 1012: 1008: 998: 988: 984: 977: 968: 967: 962: 956: 942: 940: 936: 932: 928: 924: 920: 916: 912: 901: 899: 895: 890: 886: 882: 879:to create in 878: 877:primitive art 874: 873: 868: 864: 860: 856: 852: 848: 842: 838: 836: 832: 831: 826: 822: 817: 810: 808: 807:Hilton Kramer 804: 799: 797: 793: 789: 784: 779: 775: 770: 764: 762: 758: 754: 750: 749: 744: 739: 737: 733: 732: 727: 723: 719: 716:(1880–1954), 715: 712:(1880–1963), 711: 703: 699: 695: 694: 689: 688:Henri Matisse 685: 681: 679: 675: 671: 670: 665: 660: 658: 657: 652: 648: 647: 642: 638: 634: 630: 626: 622: 618: 610: 606: 605: 600: 596: 588: 587:Hilton Kramer 584: 580: 576: 575: 570: 569:Henri Matisse 566: 557: 555: 551: 550:Claribel Cone 547: 546:Henri Matisse 543: 538: 536: 532: 528: 523: 521: 517: 513: 509: 505: 501: 497: 493: 489: 485: 481: 477: 476: 471: 470:Édouard Manet 467: 463: 459: 456:the Parisian 454: 444: 439: 435: 431: 427: 419: 415: 414: 406: 398: 394: 393: 388: 382: 373: 372:and despair. 371: 366: 360: 354: 350: 346: 342: 338: 329: 327: 324: 320: 316: 312: 307: 302: 298: 294: 290: 289:Bateau-Lavoir 285: 283: 282: 277: 273: 272: 267: 264: 262: 257: 253: 252: 247: 246:Henri Matisse 243: 239: 237: 233: 229: 225: 221: 217: 216:Henri Matisse 213: 209: 205: 201: 197: 196:picture plane 193: 190: 185: 183: 179: 175: 171: 167: 163: 159: 155: 151: 150:Pablo Picasso 147: 146: 141: 140: 135: 133: 122: 118: 115: 114:New York City 111: 107: 104: 100: 96: 92: 89: 86: 84: 80: 77:Oil on canvas 76: 72: 69: 66: 62: 58: 54: 51: 50:Pablo Picasso 48: 44: 40: 35: 32: 27: 22: 19: 10381: 10374: 10121:Ecomodernism 10029: 10017: 10005: 9993: 9981: 9969: 9959:The Firebird 9957: 9945: 9933: 9921: 9909: 9897: 9316: 9306:Citizen Kane 9304: 9295:Fallingwater 9285:Villa Savoye 9272: 9260: 9248: 9236: 9224: 9214:Black Square 9212: 9200: 9188: 9177: 9176: 9164: 9152: 9140: 9032:Le Corbusier 8960:Architecture 7973: 7961: 7949: 7939:Mrs Dalloway 7937: 7925: 7913: 7901: 7889: 7877: 7762:Lowell (Amy) 7088:Wilhelm Uhde 7084:(art dealer) 7082:Berthe Weill 7062:(art dealer) 7056:(art dealer) 7036:André Salmon 7005: 6997: 6991:Du "Cubisme" 6989: 6969:Ego-Futurism 6909:Abstract art 6887:Czech Cubism 6872:Section d'Or 6851:Proto-Cubism 6796:Paul Gauguin 6791:Paul Cézanne 6771: 6763: 6755: 6736: 6728: 6720: 6712: 6704: 6696: 6688: 6680: 6672: 6664: 6656: 6648: 6640: 6632: 6624: 6618:La Coiffeuse 6616: 6608: 6600: 6592: 6584: 6577: 6576: 6536:Diego Rivera 6516:August Macke 6506:El Lissitzky 6481:Alice Bailly 6423:Diego Rivera 6348:Henri Hayden 6293:Joseph Csaky 6270:Section d'Or 6155: 6147: 6132: 6117: 6110: 6095: 6087: 6043: 6035: 6027: 6019: 6011: 6003: 5995: 5987: 5857:(first wife) 5740: 5731: 5724: 5717: 5710: 5663: 5648: 5613: 5605: 5586: 5578: 5570: 5551: 5543: 5535: 5527: 5519: 5500: 5486: 5478: 5470: 5462: 5454: 5435: 5427: 5419: 5411: 5403: 5395: 5386: 5378: 5370: 5362: 5356:Woman's Head 5354: 5346: 5338: 5330: 5322: 5314: 5306: 5298: 5290: 5282: 5274: 5266: 5258: 5250: 5242: 5234: 5226: 5218: 5210: 5202: 5187: 5179: 5171: 5163: 5155: 5147: 5139: 5133:La Coiffeuse 5131: 5123: 5115: 5107: 5099: 5091: 5083: 5075: 5067: 5059: 5051: 5041: 5033: 5025: 5017: 5009: 5001: 4993: 4985: 4977: 4969: 4961: 4946: 4938: 4930: 4922: 4914: 4906: 4898: 4890: 4882: 4874: 4866: 4858: 4850: 4842: 4834: 4826: 4818: 4810: 4662: 4653: 4638: 4595: 4556: 4542: 4525: 4507: 4492:. New York: 4489: 4479: 4469: 4451: 4433: 4429: 4425: 4411: 4394: 4386:0 521 583675 4377: 4363: 4356: 4339: 4325: 4321: 4314: 4310: 4293: 4271: 4261: 4234: 4225: 4217:www.moma.org 4216: 4207: 4195:. Retrieved 4191: 4181: 4171: 4166: 4161:Fluegel, 350 4157: 4152:Fluegel, 309 4148: 4133: 4128: 4109: 4105: 4097: 4082: 4073: 4040: 4036: 4026: 4007: 3989: 3964: 3960: 3950: 3941: 3914:. Retrieved 3910: 3901: 3892: 3887:Fluegel, 223 3883: 3873: 3848: 3814: 3809:Rubin, 43–47 3805: 3796: 3787: 3778: 3769: 3760: 3751: 3742: 3736: 3724:. Retrieved 3711: 3704: 3680: 3673: 3654: 3648: 3627: 3615: 3603: 3575: 3568: 3549: 3543: 3534: 3525: 3516: 3508: 3503: 3494: 3486: 3481: 3464: 3461:Art Bulletin 3460: 3454: 3445: 3436: 3428: 3424: 3420: 3412: 3407: 3398: 3389: 3380: 3374: 3365: 3356: 3347: 3338: 3324: 3310: 3301: 3286: 3281: 3273: 3256: 3247: 3242:Green, 45–46 3238: 3230: 3225: 3216: 3208: 3203: 3195: 3190: 3180: 3175: 3158: 3142: 3123: 3115: 3094: 3079: 3071: 3064: 3055: 3051: 3043: 3039: 3035: 3014: 2976: 2968: 2962: 2957: 2948: 2918: 2912: 2897: 2893: 2885: 2870: 2865: 2848: 2844: 2835: 2804: 2794: 2773: 2746: 2720: 2714: 2698: 2669: 2639: 2632: 2624: 2619: 2595: 2587: 2529: 2516: 2505: 2502:Steve Martin 2499: 2482: 2480: 2471: 2465: 2453: 2447: 2430: 2424: 2415: 2412: 2407: 2401: 2399: 2394: 2388: 2386: 2365: 2361: 2358: 2352: 2347: 2308: 2303: 2298: 2292: 2291:comments on 2285: 2283: 2276: 2266: 2260: 2256: 2254: 2239: 2232: 2224:memento mori 2221: 2215: 2209: 2204: 2200: 2198: 2194: 2190: 2186: 2182: 2178: 2166: 2160: 2148: 2142: 2130: 2118: 2070: 2068: 2058: 2043: 2038: 2033: 2029: 2027: 2019:Louis Aragon 2016: 2011: 2008: 2003: 1999: 1995: 1987:retitled it 1984: 1980: 1978: 1973: 1967: 1951: 1943: 1941: 1925: 1922: 1918: 1912: 1910: 1906:Wilhelm Uhde 1894:André Salmon 1885: 1883: 1878: 1874: 1868: 1862: 1858: 1856: 1851: 1848:André Breton 1843: 1842: 1840:, May 1910. 1837: 1829: 1827: 1822: 1810: 1808: 1778: 1774: 1770: 1752: 1714: 1702: 1675: 1658: 1656: 1636:Demoiselles’ 1635: 1630: 1629:until after 1618: 1610: 1604: 1587: 1575: 1572: 1567: 1555: 1552: 1532: 1506: 1502: 1495: 1435: 1431: 1428:Demoiselles. 1427: 1419: 1412: 1408: 1396: 1394: 1388: 1382: 1380: 1375: 1367: 1363: 1359: 1349: 1345: 1337:tribal masks 1310: 1302: 1285: 1265: 1262:Paul Gauguin 1206: 1203:proto-Cubist 1200: 1180: 1173: 1168: 1166: 1159: 1129: 1126:Paul Cézanne 1115: 1103: 1099: 1092:Paul Cézanne 1088:Paul Gauguin 1086: 1062: 1060: 1051: 1034: 1018: 1006: 1004: 996: 986: 982: 964: 938: 926: 908: 897: 893: 888: 884: 880: 870: 844: 840: 834: 828: 824: 812: 802: 800: 765: 756: 752: 746: 740: 735: 729: 714:André Derain 707: 691: 667: 661: 654: 644: 614: 602: 572: 541: 539: 524: 520:Montparnasse 508:Berthe Weill 496:Paul Gauguin 491: 483: 473: 461: 450: 434:Paul Cézanne 429: 411: 390: 361: 357: 344: 341:Paul Cézanne 325: 318: 314: 310: 300: 297:André Salmon 286: 279: 269: 266:Paul Gauguin 259: 249: 241: 240: 219: 186: 144: 143: 138: 137: 129: 128: 88:Proto-Cubism 30: 18: 10376:Romanticism 10333:Remodernism 10214:Incoherents 10073:Avant-garde 10064:Armory Show 9671:Maeterlinck 9574:Villa-Lobos 9560:Szymanowski 9539:Stockhausen 9476:Lutosławski 9194:(1909–1910) 7994:Visual arts 7967:(1928–1940) 7883:(1913–1927) 7406:Apollinaire 7370:Synchromism 7210:Art Nouveau 7128:Armory Show 7002:(1913 book) 6994:(1912 book) 6939:Suprematism 6914:Synchromism 6892:Rondocubism 6836:Divisionism 6831:Pointillism 6811:Paul Signac 6653:(Metzinger) 6645:(Metzinger) 6637:(Metzinger) 6629:(Metzinger) 6491:Carlo Carrà 6446: [ 6388:André Lhote 6160:(1993 play) 6100:(2006 book) 6068:Carl Nesjar 5778:(Barcelona) 5658: 1941 5610:(1945-1946) 5599:Lithographs 5580:Don Quixote 5524:(1930–1937) 5472:Bull's Head 5405:Las Meninas 5375:(1944–1945) 5197: 1921 4956: 1905 4935:(1904-1905) 4860:Yo, Picasso 4852:La Gommeuse 4735:(1910–1919) 4729:(1907–1909) 4723:(1904–1906) 4717:(1901–1904) 4428:L'Art nègre 3896:Franck, 100 3402:Green, 58–9 2552:cobalt blue 2309:Demoiselles 2304:Demoiselles 2277:Demoiselles 2269:Western art 2163:John Berger 2161:Art critic 2152:Alfred Barr 1956:Paul Poiret 1859:Demoiselles 1718:, a French 1693:Mathematics 1661:art dealer 1631:Demoiselles 1627:African art 1611:Demoiselles 1607:Alfred Barr 1549:says that, 1503:African Art 1362:edition of 1356:Paco Durrio 1333:African art 1183:avant-garde 1174:Demoiselles 1169:Demoiselles 969:, 1608–1614 911:Spanish art 821:cognoscenti 794:and fellow 778:art dealers 753:The Bathers 726:Rose period 722:Blue period 633:Renaissance 535:Allan Stein 500:Micronesian 458:avant-garde 453:Rose Period 365:Blue Period 347:1885–1887, 261:The Bathers 220:Demoiselles 212:avant-garde 208:Las Meninas 204:Velazquez’s 192:perspective 189:Renaissance 182:primitivism 158:prostitutes 10407:Categories 10263:Maximalism 10198:Literature 9873:Wiesenthal 9775:Cunningham 9768:Balanchine 9748:Witkiewicz 9720:Strindberg 9706:Pirandello 9678:Mayakovsky 9553:Stravinsky 9525:Schoenberg 9337:Performing 9262:Metropolis 9053:Mendelsohn 8858:Rossellini 8851:Richardson 8662:Fassbinder 8648:Eisenstein 8585:Cassavetes 8341:Modigliani 8215:Goncharova 8201:Giacometti 7595:Dos Passos 7397:Literature 7356:Surrealism 7267:Die Brücke 6899:Die Brücke 6865:Influenced 6784:Influences 6749:Sculptures 6526:Franz Marc 6078:Lump (dog) 6037:Modigliani 5930:Residences 5913:(grandson) 5889:(daughter) 5873:(daughter) 5802:(Normandy) 5726:Pulcinella 5607:Le Taureau 5553:347 Series 5448:Sculptures 5429:Jacqueline 5244:La Lecture 4656:1910 (PDF) 4641:Review of 4510:New York: 4322:Chronology 4302:1478000198 4245:References 3961:Boundary 2 3726:6 February 3260:Cooper, 24 2730:0300208073 2708:0520087925 2625:Modern Art 2540:bone black 2536:lead white 2065:, New York 1815:modern art 1793:dimensions 1785:hypercubes 1746:and later 1667:Tribal art 1289:(Sauvage), 1268:, (1893), 1240:modern art 905:Influences 835:wild beast 621:Les Fauves 583:Merion, PA 516:Montmartre 315:mon bordel 293:Montmartre 268:'s statue 236:modern art 94:Dimensions 10312:Pulp noir 10270:Modernity 10135:Film noir 9859:St. Denis 9782:Diaghilev 9518:Schaeffer 9441:Hindemith 9413:Dutilleux 9385:Boulanger 9190:The Dance 8886:Tarkovsky 8879:Sternberg 8711:Hitchcock 8627:Dovzhenko 8543:Antonioni 8488:Stieglitz 8327:Metzinger 8278:Kokoschka 8257:Kandinsky 7671:Aldington 7664:Akhmatova 7581:Marinetti 7574:Mansfield 7525:Hemingway 7363:Symbolism 7182:Movements 7175:Modernism 7042:Max Jacob 6974:Vorticism 6741:(Picasso) 6701:(Duchamp) 6693:(Gleizes) 6685:(Gleizes) 6677:(Gleizes) 6669:(Gleizes) 6661:(Gleizes) 6626:Le goûter 6621:(Picasso) 6613:(Picasso) 6605:(Picasso) 6597:(Picasso) 6589:(Picasso) 6581:(Picasso) 6570:Paintings 6496:Paul Klee 6245:Juan Gris 6109:Theft of 5979:Films and 5828:Dora Maar 5770:(Antibes) 5038:(1905–06) 5030:(1905–06) 4932:The Actor 4887:(1901-02) 4804:Paintings 4790:1971–1973 4785:1961–1970 4780:1951–1960 4775:1941–1950 4770:1931–1940 4765:1921–1930 4760:1911–1920 4755:1901–1910 4750:1889–1900 4235:ColourLex 4057:0004-3079 3993:Lemke, 31 3305:Blunt, 27 3198:. 102–113 3194:Johnson, 2929:1149-9397 2544:vermilion 2404:writing: 2366:le bordel 2301:Dionysiac 2244:of 1863. 2143:Femme nue 1864:Blue Nude 1809:Although 1789:polyhedra 1744:Juan Gris 1732:Max Jacob 1415:stoneware 1219:Metzinger 1191:Leo Stein 847:Giorgione 757:Blue Nude 748:Blue Nude 678:Leo Stein 651:sarcastic 629:Donatello 554:Etta Cone 416:1905–06, 166:Barcelona 120:Accession 112:Bequest, 64:Catalogue 29:English: 10418:Nude art 10394:Category 9995:Fountain 9899:Don Juan 9838:Nijinsky 9734:Wedekind 9713:Piscator 9608:Anderson 9532:Scriabin 9448:Honegger 9102:Sullivan 9088:Saarinen 9081:Rietveld 9074:Niemeyer 9046:Melnikov 8976:Bunshaft 8907:Truffaut 8872:Sjöström 8816:Pudovkin 8788:Minnelli 8753:Kurosawa 8746:Kuleshov 8676:Flaherty 8502:Vuillard 8481:Steichen 8439:Rousseau 8404:Pissarro 8383:O'Keeffe 8348:Mondrian 8299:Malevich 8292:Magritte 8264:Kirchner 8208:van Gogh 8159:Doesburg 8138:Delaunay 8131:Delaunay 8054:Brâncuși 8040:Boccioni 8003:Painting 7853:Williams 7776:Mallarmé 7692:Cendrars 7602:Platonov 7560:Lawrence 7553:Koestler 7490:Flaubert 7483:Faulkner 7448:Bulgakov 7377:Tonalism 7338:De Stijl 7322:Lettrism 7308:Futurism 7199:Art Deco 7038:(critic) 7026:(critic) 6959:Art Deco 6954:De Stijl 6924:Futurism 6765:Danseuse 6714:The City 5997:Guernica 5932:(France) 5921:(father) 5811:Partners 5794:(Malaga) 5786:(Malaga) 5564:Drawings 5513:Etchings 5502:Sylvette 5300:Guernica 5228:Le Repos 5173:Ma Jolie 5165:Arlequin 5157:Ma Jolie 4514:, 2007. 4496:, 1991. 4282:, 1970. 4278:and the 4116:, 1991. 4110:Dionysos 3741:Miller. 3626:(1978). 3614:(1956). 3602:(1955). 3417:Daix, P. 3147:Timeline 3130:, 1991. 2900:p. 162, 2853:Archived 2778:Archived 2596:Art News 2484:Newsweek 2467:Guernica 2372:Purchase 2320:El Greco 2316:Iberians 2313:Iron Age 1930:— 1791:in four 1520:African 1505:(1968), 1360:La Plume 1305:in 1907. 1154:inches, 1033:and the 1011:El Greco 961:El Greco 945:El Greco 724:and his 674:Gertrude 656:Gil Blas 488:El Greco 438:El Greco 387:El Greco 370:blueness 276:El Greco 198:using a 170:feminine 123:333.1939 102:Location 83:Movement 10049:Related 9911:Ubu Roi 9866:Tamiris 9852:Sokolow 9831:Massine 9699:Osborne 9692:O'Neill 9685:O'Casey 9643:Chekhov 9629:Beckett 9615:Anouilh 9599:Theatre 9546:Strauss 9504:Russolo 9483:Milhaud 9462:Janáček 9434:Górecki 9427:Feldman 9406:Debussy 9399:Copland 9357:Antheil 9095:Steiner 9018:Johnson 8997:Guimard 8990:Gropius 8837:Resnais 8739:Kubrick 8669:Fellini 8655:Epstein 8641:Edwards 8606:Cocteau 8592:Chaplin 8564:Bresson 8557:Bergman 8536:Aldrich 8529:Akerman 8474:Soutine 8446:Schiele 8397:Picasso 8390:Picabia 8320:Matisse 8194:Gauguin 8166:Duchamp 8124:Kooning 8103:Claudel 8096:Chirico 8089:Chagall 8082:Cézanne 8075:Cassatt 8047:Bonnard 8033:Bellows 8026:Balthus 7903:Ulysses 7825:Stevens 7818:Seferis 7637:Unamuno 7476:Forster 7455:Chekhov 7420:Beckett 7349:Orphism 7315:Imagism 7299:Bauhaus 7285:Fauvism 7190:Acmeism 7017:Related 6983:Related 6846:Fauvism 6776:(Csaky) 6768:(Csaky) 6760:(Csaky) 6725:(Léger) 6717:(Léger) 6709:(Kupka) 6213:Leaders 6056:Related 5762:(Paris) 5752:Museums 5742:Mercure 5252:Le Rêve 4727:African 4708:Periods 4468:, ed., 4065:3046058 3916:2 April 3788:Gallica 3721:1445172 3211:. 40–47 3082:. 162. 2949:Fauvism 2592:October 2328:Cézanne 2324:Gauguin 2241:Olympia 2079:Iberian 2004:Avignon 1724:actuary 1621:editor 1600:Archaic 1592:reliefs 1476:Iberian 1372:wrote, 1317:Oceanic 1313:African 1295:, Paris 1223:Gleizes 1211:Picasso 1149:⁄ 1139:⁄ 1025:pesetas 898:limited 867:Gauguin 863:Cézanne 855:Watteau 851:Poussin 809:wrote, 792:Fauvist 788:Fauvism 609:Fauvism 480:Cézanne 345:Bather, 256:Cézanne 200:Baroque 174:Iberian 162:brothel 10035:(1953) 10023:(1928) 10011:(1921) 9999:(1917) 9987:(1913) 9975:(1912) 9963:(1910) 9951:(1905) 9947:Salome 9939:(1902) 9927:(1899) 9915:(1896) 9903:(1888) 9880:Wigman 9810:Graham 9803:Fuller 9796:Fokine 9789:Duncan 9741:Wilder 9727:Toller 9664:Kaiser 9636:Brecht 9622:Artaud 9581:Webern 9567:Varèse 9497:Partch 9469:Ligeti 9392:Boulez 9364:Bartók 9322:(1943) 9310:(1941) 9298:(1936) 9288:(1931) 9278:(1929) 9266:(1927) 9254:(1925) 9242:(1923) 9230:(1920) 9218:(1915) 9206:(1912) 9182:(1907) 9170:(1889) 9158:(1887) 9146:(1886) 9123:Wright 9109:Tatlin 9067:Neutra 8969:Breuer 8935:Welles 8921:Vertov 8844:Renoir 8795:Murnau 8781:Marker 8774:Lupino 8732:Keaton 8718:Hubley 8704:Godard 8690:Fuller 8634:Dreyer 8613:Dassin 8571:Buñuel 8467:Sisley 8460:Signac 8453:Seurat 8425:Renoir 8243:Hopper 8145:Demuth 8068:Calder 8061:Braque 8012:Albers 7979:(1929) 7955:(1926) 7943:(1925) 7931:(1924) 7919:(1922) 7907:(1922) 7895:(1915) 7846:Valéry 7832:Thomas 7797:Pessoa 7741:George 7734:Elytis 7727:Éluard 7713:Desnos 7685:Cavafy 7655:Poetry 7616:Proust 7609:Porter 7511:Hamsun 7469:Döblin 7462:Conrad 7434:Breton 7413:Barnes 7233:Cubism 7124:(poet) 7118:(poet) 7044:(poet) 6934:Purism 6919:Tubism 6733:(Gris) 6469:Others 6438:Tobeen 6206:Cubism 6045:Genius 6040:(2004) 6032:(2001) 6024:(1996) 6016:(1978) 6008:(1956) 6000:(1950) 5992:(1949) 5847:Family 5712:Parade 5683:Poetry 5626:Murals 5618:(1949) 5591:(1961) 5583:(1955) 5575:(1905) 5556:(1968) 5548:(1937) 5540:(1935) 5532:(1933) 5505:(1970) 5497:(1967) 5483:(1951) 5475:(1942) 5467:(1941) 5459:(1931) 5440:(1962) 5432:(1961) 5424:(1960) 5416:(1958) 5408:(1957) 5400:(1955) 5398:series 5391:(1951) 5383:(1948) 5367:(1941) 5359:(1939) 5351:(1938) 5343:(1937) 5335:(1937) 5327:(1937) 5319:(1937) 5311:(1937) 5303:(1937) 5295:(1935) 5287:(1934) 5279:(1932) 5271:(1932) 5263:(1932) 5255:(1932) 5247:(1932) 5239:(1932) 5231:(1932) 5223:(1929) 5215:(1925) 5207:(1923) 5184:(1921) 5176:(1914) 5168:(1913) 5160:(1912) 5152:(1912) 5144:(1912) 5136:(1911) 5128:(1911) 5120:(1911) 5112:(1910) 5104:(1910) 5096:(1910) 5088:(1910) 5080:(1909) 5072:(1909) 5064:(1908) 5056:(1907) 5046:(1906) 5022:(1905) 5014:(1905) 5006:(1905) 4998:(1905) 4990:(1905) 4982:(1905) 4974:(1905) 4966:(1905) 4943:(1904) 4927:(1904) 4919:(1903) 4911:(1903) 4908:La Vie 4903:(1903) 4895:(1903) 4879:(1901) 4871:(1901) 4863:(1901) 4855:(1901) 4847:(1901) 4839:(1901) 4831:(1900) 4823:(1897) 4815:(1889) 4733:Cubism 4602: 4579: 4563: 4549: 4532: 4518: 4500: 4458: 4440: 4418: 4401: 4384: 4370: 4346: 4332: 4324:. In: 4300: 4286: 4197:1 June 4140: 4120: 4063: 4055: 4014: 3981:303444 3979: 3857: 3719: 3692: 3661: 3634: 3587: 3556: 3413:Action 3293: 3134: 3086: 3059:. The 3023: 2927: 2904: 2877: 2728: 2706: 2677: 2647: 2518:Genius 2477:Legacy 2420:Louvre 2332:Giotto 1996:bordel 1805:Impact 1436:Oviri. 1420:Oviri. 1325:Derain 1215:Braque 1112:Cubism 1073:Rubens 1069:Titian 1043:motifs 865:, and 859:Ingres 853:, and 796:Cubist 643:scene 641:jungle 590:1905." 484:Bather 232:cubism 224:Giotto 74:Medium 46:Artist 10205:Post- 10191:Music 9890:Works 9845:Shawn 9824:Laban 9759:Dance 9657:Jarry 9650:Ibsen 9588:Weill 9511:Satie 9420:Falla 9378:Berio 9348:Music 9133:Works 9060:Nervi 9004:Horta 8983:Gaudí 8942:Wiene 8914:Varda 8900:Trnka 8809:Pabst 8767:Losey 8725:Jones 8697:Gance 8620:Deren 8599:Clair 8578:Carné 8550:Avery 8432:Rodin 8418:Redon 8376:Nolde 8369:Munch 8362:Moore 8355:Monet 8306:Manet 8285:Léger 8250:Kahlo 8229:Grosz 8187:Ernst 8180:Ensor 8117:Degas 7870:Works 7860:Yeats 7839:Tzara 7811:Rilke 7804:Pound 7783:Moore 7755:Lorca 7748:Jacob 7720:Eliot 7699:Crane 7678:Auden 7644:Woolf 7630:Svevo 7623:Stein 7588:Musil 7546:Kafka 7539:Joyce 7532:Hesse 7518:Hašek 7441:Broch 7276:Music 6450:] 5881:(son) 5642:Plays 4446:JSTOR 4444:. In 4432:. In 4061:JSTOR 3977:JSTOR 2752:(PDF) 2566:Notes 2560:ochre 2504:play 2439:Degas 2236:Manet 1596:Osuna 1594:from 1461:Osuna 1432:Oviri 1397:Oviri 1384:Oviri 1287:Oviri 1077:Prado 987:Nudes 896:more 542:Salon 428:work 271:Oviri 214:from 160:in a 68:79766 9817:Holm 9490:Nono 9455:Ives 9371:Berg 9339:arts 9116:Mies 9039:Loos 9025:Kahn 8949:Wood 8928:Vigo 8893:Tati 8865:Sirk 8760:Lang 8683:Ford 8520:Film 8509:Wood 8334:Miró 8313:Marc 8271:Klee 8236:Höch 8222:Gris 8173:Dufy 8110:Dalí 7790:Owen 7706:H.D. 7567:Mann 7504:Gide 7497:Ford 7427:Bely 7240:Dada 6944:Dada 6773:Head 5615:Dove 4721:Rose 4715:Blue 4600:ISBN 4577:ISBN 4561:ISBN 4547:ISBN 4530:ISBN 4516:ISBN 4498:ISBN 4456:ISBN 4438:ISBN 4416:ISBN 4399:ISBN 4382:ISBN 4368:ISBN 4344:ISBN 4330:ISBN 4298:ISBN 4284:ISBN 4199:2017 4138:ISBN 4118:ISBN 4053:ISSN 4012:ISBN 3918:2024 3911:MoMA 3855:ISBN 3728:2008 3717:OCLC 3690:ISBN 3659:ISBN 3632:ISBN 3585:ISBN 3554:ISBN 3291:ISBN 3233:, 15 3132:ISBN 3084:ISBN 3021:ISBN 2925:ISSN 2902:ISBN 2875:ISBN 2726:ISBN 2704:ISBN 2675:ISBN 2645:ISBN 2448:The 2433:The 2326:and 2250:MoMA 2121:1907 1962:and 1722:and 1652:Fang 1522:Fang 1335:and 1319:and 1235:Gris 1167:The 1144:× 98 1045:and 923:Teke 913:and 676:and 615:The 518:and 436:and 274:and 59:1907 56:Year 8802:Ozu 8411:Ray 8152:Dix 8019:Arp 4389:PDF 4313:in 4045:doi 3969:doi 3686:101 3581:100 3469:doi 3166:". 2787:BBC 2238:'s 1177:it. 1128:'s 1067:by 983:Nus 857:to 531:Leo 490:'s 482:'s 291:in 278:'s 258:'s 10409:: 10373:← 6448:fr 5670:c. 5655:c. 5194:c. 4953:c. 4541:. 4488:. 4355:. 4309:, 4270:. 4233:. 4215:. 4190:. 4108:, 4104:. 4059:. 4051:. 4041:76 4039:. 4035:. 3998:^ 3975:. 3965:15 3963:. 3959:. 3940:. 3926:^ 3909:. 3865:^ 3853:, 3829:^ 3786:. 3768:. 3688:. 3583:. 3465:23 3463:. 3265:^ 3149:. 3122:. 3103:^ 2985:^ 2967:. 2935:^ 2923:, 2892:. 2834:. 2813:^ 2803:. 2785:. 2760:^ 2736:^ 2689:^ 2659:^ 2603:^ 2590:. 2573:^ 2554:, 2550:, 2546:, 2542:, 2538:, 2322:, 2318:, 2263:: 2041:. 2014:. 1970:: 1769:, 1742:, 1738:, 1734:, 1730:, 1537:, 1331:, 1315:, 1264:, 1242:. 1233:, 1229:, 1225:, 1221:, 1217:, 1213:, 1106:, 963:, 861:, 849:, 690:, 601:, 581:, 571:, 537:. 522:. 502:, 389:, 343:, 10386:→ 7167:e 7160:t 7153:v 6198:e 6191:t 6184:v 6140:" 6125:" 5675:) 5668:( 5660:) 5653:( 5199:) 5192:( 4958:) 4951:( 4693:e 4686:t 4679:v 4410:, 4237:. 4219:. 4201:. 4067:. 4047:: 4020:. 3971:: 3920:. 3772:. 3730:. 3698:. 3667:. 3640:. 3593:. 3562:. 3471:: 3162:" 3029:. 2838:. 2807:. 2754:. 2745:" 2683:. 2520:, 2509:, 1773:( 1574:( 1490:. 1405:. 1162:. 1151:4 1147:3 1141:8 1137:7 999:. 985:( 263:, 136:(

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Knowledge

Les Demoiselles d'Avignon

Index