Difference between revisions of "Reconstruction:La Vie (Picasso)"

Revision as of 23:20, 9 December 2021

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Two couples are <opposed>⁠DEF as verticalities: the naked adult couple on the left, and the mother and child on the right. The <opposition> is marked by <convexities>⁠DEF that follow the contour of figures painted in <light>⁠DEF colors: the naked bodies (the couple on the left and the paintings in the middle) and the <convex> <unity>⁠DEF of the mother cradling the child in contrast to the mother’s non-<light> clothing.

Horizontal <conjunctions>⁠DEF are defined by horizontal bands supported by the canvases in the background: (1) the woman on the left and the child, and (2) the man and the woman on the right, whose <conjunction> is enforced by the perfect alignment of the heads:

Then the sight-line of the woman on the right, linking to the man’s left wrist and going up along the hand at an angle, forms a <trajectory>⁠DEF that <crosses>⁠DEF the orthogonalities of <opposition> and <conjunction> by underlining <unity> as opposed to just the child.

Correlated painting: Des pauvres au bord de la mer

This painting uses a form of <trajectory> in the diagonal from the woman’s forearm down the child’s right hand, the falling edge of his upper garment, and the man’s leg at an angle. The <trajectory> groups all three figures by <crossing> their vertical <opposition> and the horizontal <conjunction> (underlined by the man’s crossed arms) between the woman and the man. The <trajectory> projects into the parallel vector made by the faces of the man and the child as they both nod the same way, forming a <light> <unity> that contrasts the non-<light> clothing.

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 [[File:Picasso, La Vie 1903.jpg|center|600px]]
-Deux couples à dominante verticale s'{{meta|opposent}} : le couple adulte et la mère avec son enfant. L'{{meta|opposition}} est marquée par le dessin des contours {{meta|convexes}}, et matérialisé dans le cas du couple maternel par le contraste du linge blanc avec le tissu sombre. La {{meta|convexité}} est reflétée dans chacune des toiles de fond, incarnée dans chaque position fœtale. L'orientation courbe l'espace vers le couple de gauche, comme le corrèlent l'incurvation dorsale ou l'écornement en haut à droite de la toile de fond la plus haute.
+Two couples are {{def|opposed|opposition}} as verticalities: the naked adult couple on the left, and the mother and child on the right. The {{ref|opposition}} is marked by {{def|convexities}} that follow the contour of figures painted in {{def|light}} colors: the naked bodies (the couple on the left and the paintings in the middle) and the {{ref|convex}} {{def|unity}} of the mother cradling the child in contrast to the mother’s non-{{ref|light}} clothing.
-[[File:Lavie-convex.png|center|frame|{{meta|Convexités}}]]
+[[File:Lavie-convex.png|center|frame|{{ref|Convexities}}]]
-Une {{meta|conjonction}} entre les couples est définie par bandes horizontales étayées par l'étagement des deux toiles de fond :
+Horizontal {{def|conjunctions|conjunction}} are defined by horizontal bands supported by the canvases in the background: (1) the woman on the left and the child, and (2) the man and the woman on the right, whose {{ref|conjunction}} is enforced by the perfect alignment of the heads:
-[[File:Lavie-bandes.png|center|frame|{{meta|Conjonction}}]]
+[[File:Lavie-bandes.png|center|frame|{{ref|Conjunctions}}]]
-Elle corrobore une {{meta|anti}}-{{meta|opposition}} prononcée par un trajet partant des yeux de la jeune femme, descendant le long de son avant-bras puis se recourbant vers le haut en suivant la main de l'homme selon une droite tangente au berceau formé par les bras de la mère.
+Then the sight-line of the woman on the right, linking to the man’s left wrist and going up  along the hand at an angle, forms a {{def|trajectory}} that {{def|crosses|cross}} the orthogonalities of {{ref|opposition}} and {{ref|conjunction}} by underlining {{ref|unity}} as opposed to just the child.
-[[File:Lavie-extern.png|center|frame|Trajet {{meta|anti}}-{{meta|oppositionnel}}]]
+[[File:Lavie-extern.png|center|frame|{{ref|Trajectory}}]]
-En ce sens, le tableau formalise une {{meta|anti}}-thèse au repli {{meta|convexe}} sur soi/sur son couple, vers une autre forme de couple, celui formé de la mère et de l'enfant.
+==Correlated painting: ''Des pauvres au bord de la mer''==
-==Tableau corrélé : ''Des pauvres au bord de la mer''==
 [[File:Des-pauvres-au-bord-de-la-mer.jpg|center|400px]]
-Ce tableau montre une {{meta|conjonction}} {{meta|opposant}} l'enfant aux adultes. Cette {{meta|opposition}} est {{meta|anta}}-gonisée par une diagonale allant de la femme à l'enfant, appuyée sur le bras de la femme, la jambe légèrement repliée de l'homme et le trait inférieur du haut de vêtement de l'enfant.
+This painting uses a form of {{ref|trajectory}} in the diagonal from the woman’s forearm down the child’s right hand, the falling edge of his upper garment, and the man’s leg at an angle. The {{ref|trajectory}} groups all three figures by {{ref|crossing|cross}} their vertical {{ref|opposition}} and the horizontal {{ref|conjunction}} (underlined by the man’s crossed arms) between the woman and the man. The {{ref|trajectory}} projects into the parallel vector made by the faces of the man and the child as they both nod the same way, forming a {{ref|light}} {{ref|unity}} that contrasts the non-{{ref|light}} clothing.
 [[Category:Painting]]
 [[Category:Pablo Picasso]]