Picasso's Psyche As Seen Through Essay

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The objectification of the female form in The
Studio illustrates how as a mode of this period his increasing openness to
more traditional curvature and anatomy would merge with cubism to produce
an utterly unique but decipherable perspective on human sexuality.
Accordingly, "these appearances in works such as Woman in an Armchair
and its related studies are mere snippets of anatomy within a Cubist
framework, yet they signal Picasso's uneasiness with Cubism." (Fitzgerald,
49) The uneasiness would not eliminate its presence but show cubism in the
light of surrealist themes. Its garish and unsettling proportions become
ultimately more organic and shocking in this way. To Picasso, this was not
a goal, but an acceptable end to art conducted appropriately. So he would
indicate "when, one day, someone said apropos of nothing in particular that
there can be no sense of shame in art, he answered that painting could
paint anything, provided that it was really painting.

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'Only when painting
isn't really painting can there be an affront to modesty,' said he."
(Picasso & Ashton, 15)
One must imagine that in this respect, Picasso admonished the need
for honesty in process and presentation. Certainly, it was neither form
nor the philosophical abstention from form which governed this ideology.
Instead, Picasso allowed himself to evolve in both form and the
confrontation of his subject matter as a way of invoking greater insight
into the artistic process and the merits of its outcome. In The Studio, we
find the artist reaching the relative heights of his internal exploration,
revealing a soul and psyche wiling to engage itself with frankness and yet
preoccupied with something akin to psychic demons. Though he would never
fully exorcise these from a personal life of unsettled romantic and sexual
affairs, such works would appear to function as an outlet for an
unflinching self awareness.
Works.....

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