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CUBIST COLLAGE

Pablo Picasso, La Vie, 1903


Paul Gaugin, DO Venons Nous, 1897
Edvard Munch, Dance of Life, 1899-1900
Pablo Picasso, La Vie, 1903
Pablo Picasso, Death of Casagemas, 1901
But once a real person could be placed as the
model for the standing male gurethe earlier
interpretations of La Vie as an allegory of
maturation and development could be put aside
for a more local and specic reading. (29)
Pablo Picasso, La Vie, 1903
Pablo Picasso, Death of Casagemas, 1901
The problem with this reading is not that the
identication is wrong, but that its ultimate
aesthetic relevance is yet to be proven or
evenargued (29)
Pablo Picasso, Seated Bather, 1930 Pablo Picasso, Bather with Beach Ball, 1932
As difcult as if someone rst pointed to a Hals portrait of a Dutch militia ofcer
and then to his rendering of the Malle Babbe and maintained they were products of
different styles. But Rubin was insisting on this differenceeach model with a different
name: Olga Picasso; Marie-Therese Walter. (24)
The revision in the theory of representation that is current underway, in its overturning of
those older beliefs [in connotation and multiplicity of meaning, not just denotation or naming], is
all the more striking. The revision involves a return to a notion of pictorial representation as
constituted by signs with referents but no sense: to the limiting of the aesthetic sign to
extension, to the dependent condition of the classically conceived proper name. (28)
Jan van Eyck, Arnolni Wedding, 1434
It is as if though the shifting, changing sands of visual polysemy, of multiple meanings and
regroupings, have made us intolerably nervous, so that we wish to nd the bedrock of sense. We
wish to achieve a type of signication beyond which there can be no further reading or
interpretationAnd where more absolutely and appropriately thanpositive
identication. (28)
Pablo Picasso,
Portrait of Daniel-Henry Kahnweiler, 1910
Pablo Picasso, The Scallop Shell, 1912 Pablo Picasso, Still Life with Chair Caning, 1912
Pablo Picasso, The Scallop Shell, 1912 Pablo Picasso, Still Life with Chair Caning, 1912
Ferdinand de Saussure (1857-1913)
SIGN
SIGNIFIER
s
SIGNIFIED
S
Tree
The signier is a material constituent (written trace, phonic element) and the signied, an
immaterial idea or concept. (33)
Ferdinand de Saussure (1857-1913)
SIGN
SIGNIFIER
s
SIGNIFIED
S
Ferdinand de Saussure (1857-1913)
SIGN
SIGNIFIER
s
SIGNIFIED
S
Pablo Picasso, The Scallop Shell (Notre avenir est dans lair), 1912
Pablo Picasso, The Scallop Shell (Notre avenir est dans lair), 1912
PAMPHLET
Pablo Picasso, The Scallop Shell (Notre avenir est dans lair), 1912
FRENCH NATIONALISM
Pablo Picasso, The Scallop Shell (Notre avenir est dans lair), 1912
Picasso as Frenchman
Pablo Picasso, Violin, 1912
violin
Pablo Picasso, Violin, 1912
foreshortening
Pablo Picasso, Violin, 1912
The structural condition of absence is
essential to the operation of the sign within
Picassos collagePicasso composes the sign, not
of violin, but of foreshortening
And because the inscription of the fs takes place
within the collage assembly and thus on the most
rigidly attened and frontalized of planes, depth
is thus written on the very place from which it is
- within the presence of the collage - most
absent. It is this experience of inscription that
guarantees these forms the status of signs. (33)
Pablo Picasso, Violin, 1912
What Picasso does with these fs to compose a
sign of space as the condition of physical
rotation, he does with the application of
newsprint to construct the sign of space
as penetrable or transparent. It is the
perceptual disintegration of the ne-type of the
printed page into a sign for the broken color with
which paintings (from Rembrandt to Seurat)
represent atmosphere, that Picasso continually
exploits. (33)
Pablo Picasso, Violin, 1912
In doing so, he inscribes transparency on the
very element of the collages fabric that is most
reied and opaque: its planes of newspaper. (33)
Pablo Picasso, Compote Dish with Fruit, Violin,
and Glass, 1912
the diacritical nature of the sign establishes it
as a term whose meaning is never an
absolute, but rather a choice from a set of
possibilities, with meaning determined by the very
terms not chosen. (35)
Does this trafc
light make
sense?
Pablo Picasso, Compote Dish with Fruit, Violin,
and Glass, 1912
the diacritical nature of the sign establishes it
as a term whose meaning is never an
absolute, but rather a choice from a set of
possibilities, with meaning determined by the very
terms not chosen. (35)
Pablo Picasso, Compote Dish with Fruit, Violin,
and Glass, 1912
atmosphere/edge
the diacritical nature of the sign establishes it
as a term whose meaning is never an
absolute, but rather a choice from a set of
possibilities, with meaning determined by the very
terms not chosen. (35)
Pablo Picasso, Compote Dish with Fruit, Violin,
and Glass, 1912
open/closed form
the diacritical nature of the sign establishes it
as a term whose meaning is never an
absolute, but rather a choice from a set of
possibilities, with meaning determined by the very
terms not chosen. (35)
Pablo Picasso, Compote Dish with Fruit, Violin,
and Glass, 1912
In the great, complex cubist collages, each
element is fully diacritical (37)
Atmosphere / Edge
Line / Color
Closure / Openness
Plane / Recession
Pablo Picasso, Compote Dish with Fruit, Violin,
and Glass, 1912
The collage element performs the occultation
[hiding] of one eld in order to introject the
gure of a new eld, but to introject it as gure -
a surface that is the image of eradicated
[demolished] surface. It is this eradication of the
original surface and the reconstitution of it
through the gure of its own absence that is the
master term of the entire condition of collage as
a system of signiers. (37)
gure/ground
The collage element performs the occultation
[hiding] of one eld in order to introject the
gure of a new eld, but to introject it as gure -
a surface that is the image of eradicated
[demolished] surface. It is this eradication of the
original surface and the reconstitution of it
through the gure of its own absence that is the
master term of the entire condition of collage as
a system of signiers. (37)
Pablo Picasso, Still Life with Chair
Caning, 1912

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