Art works portraying interiors have a deeper meaning than a literal representation of a room or space within a building

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Pablo Picasso's interior Studio with Plaster Head is quite noticeably not just a literal representation of a room but Picasso's own expression and interpretation of a room and the objects placed in that room. I think that art works of interiors do have a profound meaning that is concealed to the artist, but that the true meaning often eludes the public. Art critics and art viewers worldwide are forever trying to understand the artist's thoughts and feelings behind a piece of art but as Picasso said "Everyone wants to understand art. Why don't we try to understand the song of a bird? Why do we love the night, the flowers, everything around us, without trying to understand them? But in the case of a painting, people think they have to understand. If only they would realize above all that an artist works of necessity, that he himself is only an insignificant part of the world, and that no more importance should be attached to him than to plenty of other things which please us in the world, though we can't explain them people who try to explain pictures are usually barking up the wrong tree."

Pablo Ruiz Picasso was born October 5th 1881 in Málaga. Encouraged by father, who lived modestly as an artist and art teacher, Pablo showed an overwhelming desire to express himself by drawing and painting. His early dedication to art combined with his unusual talent led Pablo to explore and experiment and to seek new influences.

In the years before the Studio with Plaster Head Picasso worked with Georges Braque and the Spanish painter Juan Gris, experimenting with a new means of interpreting form onto a flat surface. They separated elements of an objects form and painted them, including more than could be seen from a single viewpoint. They limited their palettes to a few dull colours and treated the subject and background with certain uniformity. The viewer's eye traveled over a series of surfaces that gave the manifestation of both solidity and transparency, cubism was created. During World War One Pablo designed scenery for Diaghilev's Ballet Russes, and this led to an interest in classical subjects. Never to stay with one style Picasso painted representational works at the same time as his cubist works. As Picasso's paintings became more abstract Picasso felt the need to introduce a reference of reality into his work. He used bright colours to give the impression of depth and the paintings took on a collage appearance. Various shapes, colours and textures were freely arranged on the canvas. A major achievement of this style was Three Musicians (11).

By the mid-twenties Picasso no longer had any control over the way in which society was acclaiming him as an artist. He felt he had to suffer a public that was slowly suppressing his individuality by blindly applauding each work he produced. His wife Olga enjoyed her role as the wife of a great painter so much that she was unable to give him any support during his crisis. Picasso's strength saw that he did not surrender to this dilemma; instead he began a number of artistic experiments, set up a sculptor's studio in Paris and tried to regain his independence by taking an interest in the unknown and unfamiliar.

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Over the summer of 15 the Picasso family was holidaying in Juan-les-Pines, here Pablo painted several works one of which was Studio with a Plaster Head. In this painting one can see that the focal point of the work is the plaster head of a bearded classical man. The head is balancing on a try square, beside this is a plaster foot, one can also see a green vine creeping between the foot and a plaster arm holding a scroll, an open book, an orange, a tablecloth and Picasso's son Paulo's toy theatre. The image is highly coloured, with bright blues, yellows and reds taking up much space. Picasso combines cubism and classicism; with the collage like tablecloth on the one hand and the classical man's head on the other. The try square and the fine, solid angles give an atmosphere of building and architecture. The image along with the others that were painted that summer can be said to represent a late cubism, a diluted form from the point of view of restraint, logical severity and simplicity. That of curve, colour and opulent delight now augmented it.

In my opinion it is not what Picasso painted that suggests his inner thoughts and that deeper meaning everyone is searching for, but the way in which Picasso painted what he saw. The exceedingly coloured, loud work is different from other artists, and Picasso's other previous styles. If we look at the inhibition on individuality Picasso was suffering in the years before this work, we can put two and two together. Maybe Picasso's work was so intense, so out there and different because of these feelings. Picasso had the vitality and aptitude to bring him through his crisis to create works that were clearly recognizable as "Picasso's".Please note that this sample paper on Art works portraying interiors have a deeper meaning than a literal representation of a room or space within a building is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Art works portraying interiors have a deeper meaning than a literal representation of a room or space within a building, we are here to assist you. Your persuasive essay on Art works portraying interiors have a deeper meaning than a literal representation of a room or space within a building will be written from scratch, so you do not have to worry about its originality.

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