Difference between revisions of "Reconstruction:La Vie (Picasso)"
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[[File:Lavie-extern.png|center|frame|{{ref|Trajectory}} tangent to the {{ref|symmetric {{ref|convexity|convex}}|symmetry}}]] | [[File:Lavie-extern.png|center|frame|{{ref|Trajectory}} tangent to the {{ref|symmetric {{ref|convexity|convex}}|symmetry}}]] | ||
Together with the {{ref|conjunction}}, this creates a link that goes through all four figures and subverts the {{ref|opposition}} based on the asymmetric {{ref|convexities|convex}} and the rigid lines that {{ref|divide}} the painting. | Together with the {{ref|conjunction}}, this creates a link that goes through all four figures and subverts the {{ref|opposition}} based on the asymmetric {{ref|convexities|convex}} in the background and the rigid lines that {{ref|divide}} the painting. | ||
==Related painting: ''Des pauvres au bord de la mer''== | ==Related painting: ''Des pauvres au bord de la mer''== |
Revision as of 18:34, 12 January 2022
Two vertical groups
the painting down the middle: the naked adult couple on the left, and the mother with baby on the right. This is confirmed by the side-edges of the canvases in the background.The top and bottom edges of these canvases support horizontal bands. The uppermost band coincides with a
between the man and woman to the right, thanks to the alignment of the horizontal sight-lines:In the lower bands however, an
is created between the vertical groups by the asymmetry of that follow the contour of the figures on the canvases:Then, the sight-line of the woman on the left, moving down the man’s left forearm and going up along the hand at an angle, forms a
that emphasizes, as a tangent, the that arises from the tonal contrast between the mother cradling the baby and the mother’s dark clothing.Together with the
, this creates a link that goes through all four figures and subverts the based on the asymmetric in the background and the rigid lines that the painting.Related painting: Des pauvres au bord de la mer
This painting uses a form of
in the diagonal running along 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 crosses their vertical and the (underlined by the man’s crossed arms) between the woman and the man. The unites all three figures, as it projects into the parallel vector made by the faces of the man and the child as they both nod the same way, both tonally contrasting the dark clothing.