Interpretation Of Picasso’S Le Demoiselles D'Avignon From The Angle Of Different Viewers

In her essay New Encounters with Le Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism, Anna Chave puts forth a (unique) take on the famous cubist painting, Le Demoiselles d'Avignon, by Pablo Picasso. Chave argues that, despite art historians having such a fixation on this piece of work, the discussion on it, and the significance of the viewer to the painting, are only considered to how a white male would view it.

Chave argues that this is not the only way to read this painting, and that to look through the eyes of a woman, or a person of colour, specifically of African descent, the painting provokes a different narrative in the eyes of those viewers. Her arguments for the importance of these viewpoints are compelling and have made me view this painting in a new light after reading the article. Chave also touches on the public reaction and the changing perception of this painting in relation to cubism throughout the time of it being created to now. It is also important to note that this article is not intended to be about how Picasso viewed his painting, but of how she interprets it. Chave begins the article by the creation of empathy between the female viewer and the subjects of Le Demoiselles d'Avignon. To do this, Chave brings up the everyday sexualization and harassment that the average woman faces. Because, while not many women who read this paper will have experienced prostitution, most if, not all have known what it feels like, granted often on a smaller scale, to have men view their bodies in a way that they feel they are entitled to them. To the female reader, the ability to relate to the figures creates a sympathetic feeling towards them, and in some ways allows the reader to put herself in place of the painting. The sympathy of the viewer is detrimental to changing one's views of the painting, in my opinion.

Chave references a great number of texts that speak of the male viewers fear, or villainization, of the depicted figures. But herself speaks of viewing the figures as ‘natural and confident’, and ‘no more ugly than the artist himself appears in self portraits’. For me, even before reading this article, these figures did not seem fearsome nor villainous, in fact, I would have to agree with Chave in that they seem to be indifferent or bored. I think that it would be interesting to hear a man's perspective on this paper, and if their opinions of the painting are similar to the ones quoted by Chave throughout the essay. Another important aspect of Le Demoiselles d'Avignon that Chave brings up is the racialization of the figures, specifically the two women in the right of the painting. Chave makes a point that to look at this painting from a person of colour’s perspective is just as important of a view to consider when understanding the level of prejudice that is felt towards these women. The multiple times that I have seen this image in an academic setting, the African Masks that the two right figures wear have been told as being their faces, however, Chave insists that the disjunction between their heads and bodies mark them as being masks. Them being viewed as wearing masks is something that I agree with. Whether or not you view them as masks or the figures face’s, this choice of stylization creates a series of racist undertones and messages that Chave explores. I think that the most prominent is the denial by Picasso that there even was an African or tribal influence, despite it being proven that he had access to these prior to finishing the painting. When paired with the numerous points of racism shown by this painting, the fact that Picasso denies any sort of involvement(? ) seems to make it worse.

Some of the points that Have explored in relation to race are the continued singling out of the two Africanized women as being uglier, dirtier, and more bestial than the other woman in the work, (. . . ), and the colonial viewpoint of the time that compares Africa with the female sex. (more examples!!!!!)In addressing the question posed at the start of the essay, on why is Le Demoiselles d'Avignon such a subject of fixation for so many, Chave compares it to Édouard Manet’s Olympia. Why is there so much more rage about the prostitutes depicted in Le Demoiselles d'Avignon than in Olympia? Chave figures it to be about the social class of the ones depicted. Olympia allows the viewer to still keep their superiority, while Le Demoiselles d'Avignon demotes the viewer to a position where they must go with the ‘cheap’ option. Another contrast between the two lies in the position of the role of the people of colour in the image. Olympia is waited on by her servant, whereas two of the prostitutes that the viewer is implied to be employing are coded as being black. Throughout her article, Chave presents strong ideas and opinions on Le Demoiselles d'Avignon. She makes sure to cite evidence for her claims, as well as presenting the other side of the argument. By reading her work, I have a deeper understanding of the painting Le Demoiselles d'Avignon, as well as the reminder to consider different viewpoints when viewing other works of art.