What Is The Mood Of The Weeping Woman

The dark blue left eye and light blue right tells me that Pablo Picasso may have used her actual eye color. Her body is almost as if she had her back to Picasso and turning her torso toward him; such as in most contrapposto art. In the original sketch you can clearly see her arms and the detail of her body. She is not looking back at Picasso, but instead looking toward the opening curtain. The hair of the young lady is also more visible as it drapes down her back. By repositioning her arm and adding the mask he completely changed her appearance, not only in her face but her body as well. Picasso gave her a double point of view, as you look at her nose and the angles it provides. The hand under the chin gives it an almost claw like feature, with what seems to be her fingers going to her eye to her the opposite side of the chin. With the sharp angles and mask and all the distortion it would be difficult to truly see just the young lady. It is almost as if she is shards of glass pieced together to make a

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

Groseclose focuses on studying the artwork’s use of lighting and the identity of the subjects, their postures, and facial expressions. Also, she interprets the painting

     At the extreme right of Picasso’s mural, a woman is falling from a burning building. Flames appear to be spewing from the top of that building. The flames consist triangles with different values of gray. The same light triangles are coming from the woman’s dress. Her arms flail upwards as she falls, and it is her fall that draws the eye downward and moves the viewer through the work. Below lies the woman picking herself up off the

Girl before a Mirror, an oil on canvas painting by Spanish artist Pablo Picasso, shows two sides of a girl; one which is illustrated with a dark tone and one with a vibrant colorful tone. This painting is bright; colors are at full intensity and are arranged next to their complements, producing a visual relationship between shape and form. Forms are used to draw the viewer’s eye across the canvas where circular shapes, repeating throughout the work, are compensated by the pattern of diagonal lines of the background. The viewer observes the girl’s profile and full frontal image, looking into a mirror and noticing a different image of herself. In order to achieve this effect, Picasso uses a range of formal elements that highlight the

Many of her paintings are influenced by sad incidents and the life-long conflict of dealing with the memory and pain. Her artwork is a biography of her life, her feelings,

The painting shows five women naked with flat figures, disintegrated planes and faces, inspired by African masks. The compacted space the figures occupy appears to project forward in jagged shards; a fiercely pointed slice of melon in the still life of fruit at the bottom of the composition teeters on an impossibly upturned table top. In this painting, Picasso makes a radical departure from traditional European painting by adaptation of Primitivism and abandonment of perspective in goodwill of a level two-dimensional picture of a plane.

Then the broken, cracked column illustrates the frailness of her body and the condition of her spine. However, the column itself represents the fatal accident that she suffered at the age of eighteen. While the column demonstrates the condition of her spine, the corset represents a force that is keeping her body from collapsing. Furthermore, as one looks at Kahlo’s face, her tears show the opposite of what one may think, instead, it depicts how strong and defiant she is. Kahlo’s face is not shown with an expression of sadness, it is shown as having strength. Another surprising aspect is the doves of peace as her pupils, which bring a humorous irony about pain and suffering, that even though life may be tough, sometimes you have to laugh at the pain and move on. This is exactly what Kahlo did, through the suffering and pain, she stayed strong through it all, which is truly inspiring. Lastly, the nudity that appears in the painting brings in a theme of sexuality, which had been a taboo subject in Mexico in the 1940s, showing Kahlo’s controversial side coming into

His other great artworks that took even more shape then his first portrait. The Weeping Woman was painted in 1937 depicting and image of suffering was more of the vibrant compared to the early painting with bland colors. The picture inspired by Picasso’s mother telling him that the nearby burning city from the Luftwaffe bombing was making her eyes water. The model for the picture was Dora Maar the mistress of Picasso from 1936 to 1944 (pablopicasso.org).

Analyze: Due to the colors and the value added to the painting, the emphasis of the painting is the woman. The strong black background contrasts her colorful clothing and fair skin creating a great emphasis on her presence within the painting. Additionally, the value and texture that is added to her face and clothing creates a realistic illusion. Her clothes contain folds and wrinkles, while her face contains shading that allow the viewer to see its rounded shape, as the light seems to strike from the upper left corner of the image.

In a world usually depicted as a “man’s world,” a woman’s role is not considered as significant and thus can be repressed. It is why a feminist perspective or criticism comes into place, especially in literature. By definition, a feminist criticism consist of scrutinizing “the ways in which literature reinforces the economic, political, social, and psychological oppression of women.” (Tyson) In Gail Godwins’s A Sorrowful Woman, the leading female character is concentrated in her efforts in distancing from her structured lifestyle. A feminist would critic Godwins story by as the female character is in pursuit of peace and happiness and wants to escape from the role she has been implanted. The critic would concentrate on the experience woman

Going back the famous The Weeping Woman is a 59cm by 48 cm oil in canvas painting where Picasso used his artistic talent to express his political opinion; also the painting is “one of almost 60 on this theme.” According to Hubbard, Picasso use a range of bright colors to make the viewer think that the women in the painting was happy and confident until the instant some tragic news was delivered to her, and that was the moment Picasso captured the painting.3 These technique has given me the perception that life can bring tragic moments at some certain times; moreover the use of dimmed light on the center of the panting gives the impression of sorrow and pain.

Picasso’s artwork “The Weeping Woman” is a silent protest to reflect on the Spanish Civil War that caused people pain. In 1937, many unarmed innocent civilians were slaughtered in the German air force’s bobbling of the Basque town of Guernica during the Spanish civil war. The woman in the painting is one of the victim sufferers and whose baby died in the war. The almost grotesque features of the woman expresses unmeasurable pain caused by war and violence, suggesting the social commentary that human violence is hurtful and terrifying. Similarly, Guayasamín’s work, “Hands of protest”, is created in response to Ecuador’s social, political and economic problems from the year 1912 to 1999. Ecuadorian society became deteriorated and its political corruption led to an outbreak of violence. “Hands of protest” is part of the series named La Edad de Ira (The Age of Fury). Through the painting’s name we can guess the author’s intention for the painting: Guayasamin aimed to show people’s pain caused by violence in Ecuador during the 20th century. It is representative of universal human suffering created by injustice, poverty and war. Thus, both paintings have the same social commentary: the pain from war’s violence results in agony and harm, and hopes for an end to this

The shapes and forms are unnatural and the whole painting is filled with disturbing images of deformed women. Moreover, the uncomfortable feeling the painting makes you feel as the three images in the center stares directly back at you. His use of that psychic line is uncanny and very disturbing and I can’t help but to feel I hate this painting. Picasso uses sharp angular shapes and forms with the neutral color black as it appears he painted the head of the woman’s image located on the top right hand corner of the canvas where it seems he blotted and smeared paint on the canvas to represent his meaning of deformity. Every other image is defined with geometric shape and this effect in my view causes the painting to be unbalanced. His use of the elements and principles were ignored or not present, he used shading that was irregular on his forms which caused the effect of confusion on where the direction of light was coming from. Patrick Frank writes, in Artforms, “Although some art historians decry this work’s negative depiction of women, viewers are challenged by the paintings hacked-out shapes and overall intensity” (401). This makes my point of if a painting has no meaning or a painting without a clear meaning to it will mostly lead to confusion and more time than not it will lead the viewer to a feeling of