[73] The curtain seems to blend partially into her body. [35], Although not well known to the general public prior to 1906, Cézanne's reputation was highly regarded in avant-garde circles, as evidenced by Ambroise Vollard's interest in showing and collecting his work, and by Leo Stein's interest. "[9][52][53] Maurice de Vlaminck is often credited with introducing Picasso to African sculpture of Fang extraction in 1904. Contactez-nous : Violette et Elisabeth. The example of Picasso virtually launching cubism with his 1907 Desmoiselles d’Avignon, in response to the sorts of African masks and other colonial booty he was encountering in Paris’s Musee de l’Homme, is obvious.[5]. Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Robert Delaunay, Le Fauconnier, Gris and others to experiment with ever more complex multiple views of the same subject, and, eventually to the fracturing of form. [16], Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). A Cigana Adormecida, Leitura da obra de Henri Rousseau. [16] The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.  natureza morta que encontra-se na parte inferior da composição, oscila sobre uma mesa impossivelmente virada para cima. A world of meanings then becomes possible, suggesting the work as a meditation on the danger of sex, the "trauma of the gaze" (to use a phrase of Rosalind Krauss's invention), and the threat of violence inherent in the scene and sexual relations at large. [58][59], Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to artists at the Bateau-Lavoir. Georges Braque too initially disliked the painting yet perhaps more than anyone else, studied the work in great detail. La petite fille de Kurlande. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.[21]. 316 pages isbn-10: 2-277-22620-3 isbn-13: 978-2-277-22620-8 Très bon état Around 1906, Picasso, Matisse, Derain and other artists in Paris had acquired an interest in primitivism, Iberian sculpture,[38] African art and tribal masks, in part because of the compelling works of Paul Gauguin that had suddenly achieved center stage in the avant-garde circles of Paris. It has only a few rooms meaning great service and attention to detail. In the heart of darkness (1939-1945), If I Told Him: A Completed Portrait of Picasso, Woman, Bird, Star (Homage to Pablo Picasso), The Cubist Painters, Aesthetic Meditations, A Sunday Afternoon on the Island of La Grande Jatte, https://en.wikipedia.org/w/index.php?title=Les_Demoiselles_d%27Avignon&oldid=999093006, Paintings of the Museum of Modern Art (New York City), All articles with specifically marked weasel-worded phrases, Articles with specifically marked weasel-worded phrases from December 2019, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. [79], The Museum of Modern Art in New York City mounted an important Picasso exhibition on 15 November 1939 that remained on view until 7 January 1940. Elle s'en va le 12 janvier pour revenir le 18 janvier en pleine forme et sera ravie de vous accueillir en cette période de soldes ! Which Is the Most Influential Work of Art of the Last 100 Years? It was the spontaneous and, as always, primitive insurrection out of which, for good historical reasons, the revolution of Cubism developed. [22], Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. The savage power evoked by Gauguin's work led directly to, Green is careful to use the two terms together throughout his discussion, 49–59. I stayed, I stayed. [11][36], Both Picasso and Braque found the inspiration for their proto-Cubist works in Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones. Find recording details and track inforamtion for La Demoiselle d'Avignon,… - Georges van Parys on AllMusic The colors are luscious blue, strident yellow, next to pure black and white. Begun in the spirit of the works of 1906, it contains in one section the endeavors of 1907 and thus never constitutes a unified whole. The work is believed by critics to be influenced by African tribal masks and the art of Oceania, although Picasso denied the connection; many art historians remain skeptical about his denials. Our bedroom was very spacious with a walk-in closet, a small reading alcove, a nice size and spotless bathroom, and three large windows overlooking the quiet … Interpretation of Les Demoiselles d'Avignon. Picasso never liked the title, however, preferring "las chicas de Avignon", but Salmon's title stuck. Au Québec, elle a été diffusée à partir du 3 juin 1972 à la … not only references the street where Picasso once bought his paint supplies (which had a few brothels), but also the home of Max Jacob's grandmother, whom Picasso jocularly identifies as one of the painting's diverse modern day subjects. 1 talking about this. And it was meant to shock…, A brothel may not in itself be shocking. For all that the Demoiselles is rooted in Picasso's past, not to speak of such precursors as the Iron Age Iberians, El Greco, Gauguin and Cézanne, it is essentially a beginning: the most innovative painting since Giotto. This interest would culminate in the seminal Les Demoiselles d'Avignon. CARO LEITOR:  Aproveite o espaço abaixo e nos conte o que achou desse post, o seu comentário é muito importante para nós. Agradecemos sua visita. "[32], The relationship of the painting to other group portraits in the Western tradition, such as Diana and Callisto by Titian (1488–1576), and the same subject by Rubens (1577–1640), in the Prado, has also been discussed.[33]. Princet became known as "le mathématicien du cubisme" ("the mathematician of cubism"). [19], Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude and Derain contributed The Bathers. Later, these demons would return and require further exorcism. explore various ports of call and the Vienna medical doctor, Karl Heinrich Stratz who holds a human skull or book consistent with the detailed anatomical studies that he provides. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art. Na época em que Picasso a pintou, ele tinha completa noção de que este era o quadro mais importante que havia pintado até então. [69], Afterwards, the painting was rolled up and remained with Picasso until 1924 when, with urging and help from Breton and Louis Aragon (1897–1982), he sold it to designer Jacques Doucet (1853–1929), for 25,000 francs.[71][72]. A few years after writing The Philosophical Brothel, Steinberg wrote further about the revolutionary nature of Les Demoiselles: Picasso was resolved to undo the continuities of form and field which Western art had so long taken for granted. They were magic things. Artists such as Paul Gauguin, Henri Matisse and Picasso were intrigued and inspired by the stark power and simplicity of styles of those cultures. [24] The painting was reproduced again in Cahiers d'art (1927), within an article dedicated to African art. In the foreground, however, alien to the style of the rest of the painting, appear a crouching figure and a bowl of fruit. Ela é o marco, portanto, do início dos experimentos com a linguagem … During the 19th and 20th centuries, Europe's colonization of Africa led to many economic, social, political, and even artistic encounters. Des chambres familiales sont notamment disponibles, et vous pourrez profiter d’une terrasse. Spring 1906, Henri Rousseau: In imaginary jungles, a terrible beauty lurks, Gauguin retrospective at the Salon d'Automne, 1906. Although just under 30 inches high, Oviri has an awesome presence, as befits a monument intended for Gauguin's grave. He explains, The Demoiselles is generally referred to as the first Cubist picture. Picasso's sketchbooks for Les Demoiselles d'Avignon illustrate Jouffret's influence on the artist's work. They have, moreover, piggish faces with eyes wandering negligently above their ears. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair. These books, and other sources such as cartoons, Blier writes, also offer hints as to the larger meaning of this painting. After Cézanne died in 1906, his paintings were exhibited in Paris in a large scale museum-like retrospective in September 1907. Tel : +33 7 72 66 88 37 Mail : lademoiselle.avignon@gmail.com The rounded contours of the features of the three women to the left can be related to Iberian sculpture, but not obviously the fragmented planes of the two on the right, which indeed seem influenced by African masks. La Demoiselle d'Avignon est un feuilleton télévisé français en six épisodes de 52 minutes ou 14 épisodes d'une vingtaine de minutes, écrit par Frédérique Hébrard et Louis Velle, réalisé par Michel Wyn et diffusé à partir du 8 janvier 1972 sur la deuxième chaîne de l'ORTF.. The painting is prominently featured in the 2018 season of the television series Genius which focuses on Picasso's life and work. It was at this exhibition that Salmon (who had previously titled the painting in 1912 Le bordel philosophique) renamed the work its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso's friend Ignacio Zuloaga (1870–1945) acquired El Greco's masterpiece, the Opening of the Fifth Seal, in 1897 for 1000 pesetas. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. Picasso spent an October 1906 evening closely studying a Teke figure from Congo then owned by Matisse. [25][26] He had come to this museum originally to study plaster casts of medieval sculptures, then also considered examples of "primitive" art. The masks weren't like any other pieces of sculpture, not at all. Les Demoiselles d’Avignon (As Senhoritas de Avignon), é com certeza, uma das mais famosas pinturas de Pablo Picasso,  considerado um quadro pré-cubista, ou o marco do início do cubismo, porém evidenciando também o impacto da arte africana sobre a obra do artista. Both the art dealer-collector Wilhelm Uhde (1874–1947), and Kahnweiler were more enthusiastic about the painting however.[67]. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. The Hungry Lion Throws Itself on the Antelope, Picasso Portrait de Allan Stein. 49–58. [11], He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. [20], From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. (L'art nègre? Maison d'hôtes La Demoiselle 31, Rue de la Campane 84000 Avignon. Les Demoiselles d’Avignon: Conserving a modern masterpiece, Pablo Picasso, 'Les Demoiselles d'Avignon', Picasso. For Picasso it would also be a rite of passage: what he called an exorcism.' M. Picasso, their leader, is possibly the least disheveled of the lot. Overview. Their stiff, round bodies are flesh-colored, black and white. Private collections and illustrated books featuring African art in this period were also important. These representations, Blier argues, are central to understanding the painting's creation and help identify the demoiselles as global figures – mothers, grandmothers, lovers, and sisters, living the colonial world Picasso inhabited. Picasso's shrug was grudgingly affirmative. Pablo Picasso. Picasso's words were transcribed by Fels F., "Opinions sur l'art nègre". He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. Both David Sweetman and John Richardson point to Gauguin's Oviri (literally meaning 'savage'), a gruesome phallic representation of the Tahitian goddess of life and death intended for Gauguin's grave. [19], Maurice Princet,[57] a French mathematician and actuary, played a role in the birth of Cubism as an associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, Robert Delaunay, Juan Gris and later Marcel Duchamp. Richardson says: It is at this point, the beginning of 1907, that I propose to bring this first volume to an end. It is as though his fury in painting it was so great that it destroyed his gifts…, By painting Les Demoiselles d'Avignon Picasso provoked Cubism. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. The Prodigy, 1881–1906, John Richardson comments on Les Demoiselles. From 16 to 31 July 1916 Les Demoiselles was exhibited to the public for the first time at the Salon d'Antin, an exhibition organized by André Salmon titled L'Art moderne en France. [69] On 23 July 1916 a review was published in Le Cri de Paris:[70], The Cubists are not waiting for the war to end to recommence hostilities against good sense. The Museum of Modern Art acquired the painting for $24,000. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Nos estudos preparatórios de Picasso para o trabalho, a figura à esquerda era um homem, mas o artista eliminou esse detalhe na pintura final. nécessaire].Selon Henri … Yet it did provoke the beginning of the great period of exception in Picasso's life. [69], In November 1937 the Jacques Seligman & Co. art gallery in New York City held an exhibition titled "20 Years in the Evolution of Picasso, 1903–1923" that included Les Demoiselles. Concerning Gauguin's impact on Picasso, art historian John Richardson wrote, The 1906 exhibition of Gauguin's work left Picasso more than ever in this artist's thrall. [16] Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. The huge composition (some 8 feet x 8 feet; 244 x 233 cm), which would have filled an entire wall of his cramped studio in the Bateau Lavoir building in Montmartre, is a figure painting of a scene in a brothel. He notes that the five women all seem eerily disconnected, indeed wholly unaware of each other. I was all alone. Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys STARmeter Awards San Diego Comic-Con New York Comic-Con Sundance Film Festival Toronto Int'l Film Festival Awards Central Festival Central All Events The work, part of the permanent collection of the Museum of Modern Art, portrays five nude female prostitutes in a brothel on Carrer d'Avinyó (translated into Spanish: Calle de Aviñón [es]), a street in Barcelona. Dizem que o artista estava inseguro em apresentar essa obra, revelou isso a seu marchand depois de meses de revisão a pintura monumental que estava escondida em seu estúdio em Paris.Â. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. At the end of the first volume of his (so far) three volume Picasso biography: A Life Of Picasso. Although they later reunited for a period, the relationship ended in 1912. [69] André Breton later described the transaction: I remember the day he bought the painting from Picasso, who strange as it may seem, appeared to be intimidated by Doucet and even offered no resistance when the price was set at 25,000 francs: "Well then, it's agreed, M. Rather, they focus solely on the viewer, their divergent styles only furthering the intensity of their glare. [78], Ultimately, it seems Doucet paid 30,000 francs rather than the agreed price. His subsequent friendship and collaboration with Picasso led to the cubist revolution. And equally the method of painting. At the time of its first exhibition in 1916, the painting was deemed immoral. [1] William Rubin (1927–2006), the former Director of the Department of Painting and Sculpture at MoMA wrote that "Steinberg was the first writer to come to grips with the sexual subject of the Demoiselles."[75]. The flea market, the smell. Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon)[2] is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. [19] Since none of the African masks once thought to have influenced Picasso in this painting were available in Paris at the time work was painted, he is thought now to have studied African mask forms in an illustrated volume by anthropologist Leo Frobenius. We can only note the results. An enthusiastic art-lover offered the artist 20,000 francs for this masterpiece. [2] Leo Steinberg labels his essays on the painting after its original title. The museum raised $18,000 toward the purchase price by selling a Degas painting and the rest came from donations from the co-owners of the gallery Germain Seligman and Cesar de Hauke. [66], Among Picasso's closed circle of friends and colleagues there was a mixture of opinions about Les Demoiselles. Kahnweiler remembers seeing "dusty stacks of canvases" in Picasso's studio and "African sculptures of majestic severity". Broché. Les Demoiselles d’Avignon marks a radical break from traditional composition and perspective in painting. The name Avignon, scholars argue,[who?] [65], Richardson goes on to say that Matisse was fighting mad upon seeing the Demoiselles at Picasso's studio. To meet up the men she loves, she finds herself in Paris... François is a diplomat. While Picasso emphatically denied the influence of African masks on the painting: "African art? [17] Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage. He'd replaced the benign ideal of the Classical nude with a new race of sexually armed and dangerous beings."[82]. O espaço comprimido que as figuras se apresentam, parecem se projetar para a frente em fragmentos irregulares. The nudes, with large, quiet eyes, stand rigid, like mannequins. Both Paul Gauguin (1848–1903) and Paul Cézanne (1839–1906) were accorded major posthumous retrospective exhibitions at the Salon d'Automne in Paris between 1903 and 1907, and both were important influences on Picasso and instrumental to his creation of Les Demoiselles. Jacques Doucet had seen the painting at the Salon d'Antin, yet remarkably seems to have purchased Les Demoiselles without asking Picasso to unroll it in his studio so that he could see it again. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time. [19], Blier is able to date the painting to late March 1907 directly following the opening of the Salon des Independents where Matisse and Derain had exhibited their own bold, emotionally charged "origins"-themed tableaux. Composed of sharp geometric shapes, her head is the most strictly Cubist of all five. [11], In the autumn of 1906, Picasso followed his previous successes with paintings of oversized nude women, and monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive art. The savage power evoked by Gauguin's work lead directly to Les Demoiselles in 1907. [74], In 1972, art critic Leo Steinberg in his essay The Philosophical Brothel posited a wholly different explanation for the wide range of stylistic attributes. [19], The only other time the painting might have been exhibited to the public prior to a 1937 showing in New York was in 1918, in an exhibition dedicated to Picasso and Matisse at Galerie Paul Guillaume in Paris, though very little information exists about this exhibition or the presence (if at all) of Les Demoiselles. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris. Little does he know that his Cinderella wears a crown. Arte e Artistas © 2016 Todos os Direitos Reservados. Pablo Picasso's paintings of massive figures from 1906 were directly influenced by Gauguin's sculpture, painting and his writing as well. The most disturbing of those ceramics (one that Picasso might have already seen at Vollard's) was the gruesome Oviri. [19] Several experts maintain that, at the very least, Picasso visited the Musée d'Ethnographie du Trocadéro (known later as the Musée de l'Homme) in the spring of 1907 where he saw and sought inspiration from African and other arts shortly before completing Les Demoiselles. Les Demoiselles was revolutionary and controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. The re-painting of the two heads on the far right of Les Demoiselles fueled speculation that it was an indication of the split between Picasso and Olivier. Gauguin demonstrated the most disparate types of art—not to speak of elements from metaphysics, ethnology, symbolism, the Bible, classical myths, and much else besides—could be combined into a synthesis that was of its time yet timeless. The woman above her is rather manly, with a dark face and square chest. La Demoiselle d'Avignon Synopsis Bouffée de fraîcheur et de fantaisie en léger différé des années 70, la série imaginée par le tandem Frédérique Hébrard-Louis Velle, transcendée par la présence de Marthe Keller, est à savourer dans ce double-DVD de belle facture, agrémenté d’interviews et de surprises. The large scale of the canvas, Blier says, complements the important scientific and historical theme. 1993 poche. Blier argues that the painting was largely completed in a single night following a debate about philosophy with friends at a local Paris brasserie.[19]. All his friends who saw it in his studio were at first shocked by it. Les Demoiselles d'Avignon est une peinture à l'huile sur toile, de grand format (243,9 × 233,7 cm [1]), réalisée à Paris par Pablo Picasso en 1907. [11][49] Some Iberian reliefs from Osuna, then only recently excavated, were on display in the Louvre from 1904. The reunion of the mothers of each "race" within this human evolutionary framework, Blier maintains, also constitutes the larger "philosophy" behind the painting's original le bordel philosophique title – evoking the potent "mess" and "complex situation" (le bordel) that Picasso was exploring in this work. Artist: Georges Van Parys Album: Composer(s): Georges Van Parys. [54], Picasso biographer John Richardson recounts in A Life of Picasso, The Cubist Rebel 1907–1916, art dealer Daniel-Henry Kahnweiler's recollection of his first visit to Picasso's studio in July 1907. So far from suppressing the subject, the mode of organization heightens its flagrant eroticism.[76]. Koba est une princesse, une vraie. [77], Suzanne Preston Blier addresses the history and meaning of Les Demoiselles d’Avignon in a 2019 book in a different way, one that draws on her African art expertise and an array of newly discovered sources she unearthed. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse. Les Demoiselles d’Avignon marca uma ruptura radical da composição tradicional e perspectiva na pintura. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. According to Kahnweiler Les Demoiselles was the beginning of Cubism. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein. Picasso came into his own as an important artist during the first decade of the 20th century. From these encounters, Western visual artists became increasingly interested in the unique forms of African art, particularly masks from the Niger-Congo region. Until 1987, when the Musée d'Orsay acquired this little-known work (exhibited only once since 1906) it had never been recognized as the masterpiece it is, let alone recognized for its relevance to the works leading up to the Demoiselles. A trace of their presence at a table in the center remains: the jutting edge of a table near the bottom of the canvas. The famous stylistic rupture at right turned out to be merely a consummation. The larger Salon d'Automne and Salon des Indépendants had been closed due to World War I, making this the only Cubists' exhibition in France since 1914. The art-lover did not insist. First exhibited in the 1906 retrospective, it was likely a direct influence on Les Demoiselles. It cleared the way for cubism. "Il n'y a pas d'art nègre dans les Demoiselles d'Avignon". Lo sfond… Picasso drew each of the figures in Les Demoiselles differently. [13], The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. [36], During the late 19th and early 20th centuries, the European cultural elite were discovering African, Oceanic and Native American art. [8] The work, painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way. Picasso was very struck by Oviri. But women painted without charm or sadness, without irony or social comment, women painted like the palings of a stockade through eyes that look out as if at death – that is shocking. Les Demoiselles d’Avignon marca uma ruptura radical da composição tradicional e perspectiva na pintura. Representa cinco mulheres nuas com figuras compostas por planos e faces desfiguradas, inspirados pela escultura ibérica e máscaras africanas. O espaço comprimido que as figuras se apresentam, parecem se projetar para a frente em fragmentos irregulares. [31] Later, speaking of the work to Dor de la Souchère in Antibes, Picasso said: "In any case, only the execution counts. Each figure is depicted in a disconcertin… Both paintings evoke ideas of human origins (world beginnings, evolution) an increasingly important theme in Paris at this time. [12], Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. An artist could also confound conventional notions of beauty, he demonstrated, by harnessing his demons to the dark gods (not necessarily Tahitian ones) and tapping a new source of divine energy.