Tag Archives: Picasso

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To See Image Please Visit: http://web.guggenheim.org/exhibitions/picasso/artworks/charnel_house
“The Charnel House,” Pablo Picasso, 1944-1945

The Charnel House is a 1945 painting by Pablo Picasso.  The work, which is unfinished, is rendered using a black and white palette and serves as Picasso’s response to the atrocities of WWII.  The work is compositionally similar to Guernica and features similarly grim subject matter depicting a family that has been murdered.  Their contorted bodies are piled beneath a dining table.  The father lies at the bottom of the pile.  His face is abstracted and fractured although one eye appears to stare out at the viewer.  His hands, which are bound jut up towards the center of the work.  On top and to the left of this figure lies the mother.  Her sexuality is emphasized, even in death, as her breasts, rendered in a figure eight-like manner, are central to the work.  Her head tilts back and the expression on her face is suggestive of a grotesque ecstasy.  Beneath the mother, to the left of her bosom her infant child is visible.  The child’s eyes are also closed and his cupped hands appear to be blocking something, perhaps the blood that flows from his mother.  The banal depiction of the set table in the upper left hand reinforces the ways in which the war had infiltrated all aspects of life including the homes of innocent civilians.

Picasso painted the work just as reports and images of the Holocaust were circulating in newspapers and film reels.  In turn, the grisaille palette of the work as well as the subject matter are evocative of the images Picasso was seeing at the time.  In addition The Charnel House was painted just one year after Picasso joined the French Communist party and the overtly political nature of the work is reminiscent of Guernica.  However, although The Charnel House bears much in common with Guernica, its unsettled and almost ambiguous nature distinguishes it from the latter.  Although he worked on The Charnel House for over six months, the work remains unfinished.  This is due in part to the horrific subject matter depicted which seemingly defies pictorial and artistic interpretation.  This notion is reinforced by the use of a black-and-white palette, which, as the current Guggenheim exhibit “Picasso in Black and White” illustrates, was a means by which Picasso dealt with particularly complex or difficult subject matter.  In the context of this course, this image is indicative of the ways in which artist struggle to depict immense atrocities that simply cannot be rendered in a work of art.

Sources:

http://journal.utarts.com/articles.php?id=16&type=paper

http://www.moma.org/collection/object.php?object_id=78752

http://nymag.com/nymetro/arts/art/reviews/137/

http://www.guardian.co.uk/artanddesign/2010/may/08/pablo-picasso-politics-exhibition-tate

 

Not Your Typical Harem Scene

In Jacqueline Marval’s Les Odalisques, five female figures occupy a stage-like space before a partially open blue green curtain. A servant offers tea to four members of a harem, who sit and lie in varying degrees of nakedness. The three figures at left look to the figure at far right, who faces them but turns her gaze toward the viewer. Another figure lies on her side, facing us as her body extends beyond the picture plane.  Although Marval used chiaroscuro to cast shadows throughout the picture, she chose to stylize the figures rather than model them fully into naturalistic representations of female nudes. The textiles are not nearly as elaborate and sumptuous as those that appear in classic Orientalist harem paintings, like Delacroix’s Women of Algiers from 1834. In Marval’s Odalisques, bright scarves and clothing are pared down planes of color, whose complementary hot and cool shades bring a chromatic balance to the painting.

Jacqueline Marval Les Odalisques 1903

Gill Perry suggests that with Odalisques, Marval hybridized the typical harem scene, insofar as “the models appear to be Western women participating in an oriental ritual.” [1] I agree that Marval is Westernizing the women by making them white-skinned, but that is pretty typical in Orientalist painting (see Jean-Auguste Dominique Ingres’s La Grande Odalisque of 1814). I also detect some room for racial indeterminacy, especially with regard to the figure lying on her side, whose pose and hair immediately make me think of the mixed-race youth in George Caleb Bingham’s Fur Traders Descending the Missouri of 1845. The part of Perry’s claim that really does not convince me, however, is that these are modern women. Their erect backs and smooth white bodies, which Perry acknowledges but only associates with lifelessness and coldness, make me think that Marval is combining classical archetypes of ideal female bodies with the voluptuous femininities typically associated with Orientalist harem scenes. Here are some examples of Aphrodite statues that contain the impenetrable gazes and rigid facial structures that I detect in Marval’s Odalisques.

Even though Marval used chiaroscuro to concentrate darkness on the faces of the two figures at right,  Perry emphasizes her link to the Fauvists, with whom she  exhibited at the much historicized 1905 Salon d’Automne (albeit not in the prime real estate of the cage centrale). Marval also appears to me to be participating in Primivitism, a current that was pulsing through avant-garde circles—including but not limited to the Fauvists—by the first decades of the 20th century. Artists engaging in Primitivism sought self re-invention through art that was either non-Western, ancient or both [2]. For these artists, art and ways of art-making that opposed traditional Western criteria of beauty represented the promise of fresh forms of artistic expression—the holy grail of modernism. Picasso famously approached African masks in this manner, while Henri Matisse had revelations in Morocco, August Macke praised the Easter Island statues, and so on. Marval may have been looking to the Ottoman Empire in a traditional Orientalist way, but she also engaged modernist Primitivism by filtering her subjects through an archaic lens in order to reinvent the harem scene. After all, the primitive was defined across two axes: time and space, and Marval was negotiating both of them by painting Turkish concubines with a touch of Greek goddess.

The statuesque women in this picture both arouse and challenge the male gaze. Two of the figures are making direct eye contact with the viewer, but their heavy, parabolic lids restrict access to their pupils, and the viewer cannot discern their emotions. Likewise, while a male viewer can see their naked bodies, he does not have full access because Marval’s figures are either turned away, partially clothed or extending their arms and legs in directions that obscure their breasts and genitals. While the Ingres harem scene that Perry uses as a comparison is a chaotic cornucopia of available flesh, Marval offers a much more disciplined  figure grouping in which the women actively govern access to their bodies and psychological state. The half drawn curtain, meanwhile, threatens that the women could disappear “backstage” at any moment. In a sense, Marval tricks the male gaze by inviting it into a somewhat inhospitable environment: For while her scene would have appealed to male spectators at the turn of the century who would have recognized it as heir to the titillating Orientalist paintings of Ingres and Delacroix, Marval’s women also elude the male gaze by countering it with inscrutable expressions and managing its view of their bodies.

1. See Page 207 in, Perry, Gill, ed. Gender and Art. New Haven, C.T.: Yale University Press, 1999.
2. For a comprehensive definition of Primitivism, see Leighten, Patricia, and Mark Antliff. “Primitivism.” In Critical Terms for Art History, edited by Robert S. Nelson and Richard Shiff, 170–84. Chicago, I.L.: University of Chicago Press, 1996.