| Full text | |
| Author(s): |
Janaína Nagata Otoch
[1]
Total Authors: 1
|
| Affiliation: | [1] Universidade de São Paulo - Brasil
Total Affiliations: 1
|
| Document type: | Journal article |
| Source: | ARS (São Paulo); v. 18, n. 39, p. 25-73, 2020-08-28. |
| Abstract | |
The article follows a portion of the vast critical heritage of Picasso’s Les Demoiselles d’Avignon (1907) focusing on the convergences and conflicts between part of the most canonical literature and certain interpretations that, from the 1970s onwards, turned to this oeuvre by considering it as a privileged place in the revision of modernists criteria. It thus discusses the successive denounces raised by feminist art critics, whom most often identified Les Demoiselles with the ideological assumptions in the genesis of modernism. Finally, in the light of the bibliographical discussion and considering the recent exhibition of documents hitherto unpublished, the article proposes a brief analytical incursion, in order to underline the paths not yet explored in the interpretation of this painting. (AU) | |
| FAPESP's process: | 17/20620-4 - Visuality, body and sexuality: a study about the representation of the female body in the work of Pablo Picasso |
| Grantee: | Janaina Nagata Otoch |
| Support Opportunities: | Scholarships in Brazil - Master |