Jerotsk representations in Cubism modern - a model Picasso | ||
| Journal of Nabo | ||
| Article 1, Volume 0, Issue 15, November 2016, Pages 99-140 | ||
| Authors | ||
| Mustafa Shawki Ali al-Moussawi; Alaa Ali Hatami | ||
| Abstract | ||
| The current research dealt with (REPRESENTATIONS OF GROTESQUE IN THE MODERN CUBIC PAINTING -PICASSO AS A SAMPLE- ) which focuses on the pivots of modernity that are represented by cognitive modifications in the European art and culture that both eighth and ninth century have witnessed which contributed in undermining the Abstmological and cultural structures of the art by the favor of the domination of variety, strange and extraordinary … in producing new extraordinary unprecedented ideas of Grotesque nature interested with processes of disgracing, distortion and strange …so the problem of the research is briefed with inciting couple of queries of a cognitive and artistic nature which most important are : - 1- Are these representations for the Grotesque in the modern art? 2- What are the mechanism of operating the Grotesque in the cubic painting generally and the paintings of Picasso exclusively . First chapter of this research included the methodical frame of the research which included the problem , importance, need and its goal which is represented by knowing the representations of Grotesque in the modern cubic painting –picasso as a sample- within the limits of the contemporary art in France for the period ( 1903-1940) also included identifying some terms and their definition. Second chapter was (theoretical frame) which included four sections first dealt with ,art of Grotesque ( concept, theory and application), while the second section includes : features of Grotesque in the modern European painting, third section included : Cubism between dissembling and assembling, while the fourth section dealt with : Bablo Picasso ( starts, references, destinations). Third section dealt with procedures of the research included the population of research is ( 25) samples , being electing similar samples of the research’s sample intentionally are (5) samples . The two researchers depended in analyzing the samples on descriptive method via style of analyzing , also this research included building the tool by it’s primary and final form. Fourth chapter included results and conclusions of the research, plus to recommendations and suggestions, most prominent results got by the two researchers are:- 1- The cubic painter Picasso depended on the aesthetics of strange in doing his works on the level of shape and content , when he passed the familiar and constant to the modified and new extraordinary, in order to discover the “ what is behind” of the shape that run from the chains of the reality through re-casting the organizing by new techniques based on distortion , ugly and extraordinary. 2- Picasso adopted extraordinary methods in producing new shapes of a Grotesque nature via using materials and strange domestic ores with adding ready substances by technique of sticking ( Collage) , to provide the viewer aesthetic areas of free playing in recruiting and collecting and constructing, to indicate conceptual stylish and aesthetic modification exceeds the imitation limits, and ruin the real styles. Most important conclusions the two researchers have come up with are: 1- The culture of the new plastic art of cubism in it’s endeavor to ruin the visual shape and crashing the point of vision to the level that doesn’t let the visual phenomena except marginalized features barely could enrich the shape nor content. 2- The desire of ruining and demolishing and not being committed with order and harmony and natural rates are the prominent features of cubic Grotesque paints also they are ridiculous paints mix between scare and strangury. In the shed of above mentioned , the two researchers suggested that : ( Aesthetics of Grotesque in composing the post modernity) reaching the references, appendix and shapes. | ||
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