Synchronicity


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    Now is the time in this period of changes and revolution to use a revolutionary manner of painting and not to paint like before. - Pablo Picasso, 1935. (Barnes) Undoubtedly Pablo Picasso is one of the most famous and well-documented artists of the twentieth century. Picasso, unlike most painters, is even more special because he did not confine himself to canvas, but also produced sculpture, poetry, and ceramics in profusion. Although much is known about this genius, there is still a lust after more knowledge concerning Picasso, his life and the creative forces that motivated him. This information can be obtained only through a careful study of the events that played out during his lifetime and the ways in which they manifested themselves in his creations (Penrose).  
    As Rachel Barnes points out in her introduction to Picasso by Picasso: Artists by Themselves, there seemed to be no doubt that Picasso would become a painter. In order to better hone his prodigious abilities, Picasso attended the Academy in Barcelona for a brief period of time. He spent most of his early years painting in Paris, where he progressed through various periods - including a Blue period from 1900 to 1904 and a Rose period in 1904 - before creating the Cubist movement that lasted until the beginning of the First World War.
    Picassos development toward cubism reached its climax with the monumental justly celebrated Demoiselles dAvignon (1906). This painting, named for a brothel in Barcelonas Avignon Street, depicts, in a highly stylized form, five angular nude or partially draped women grouped around an arrangement of fruit. This final, condensed version, developed through many preparatory works, was attained by gradual simplifications and eliminations of an originally conspicuous subject matter. Picasso shows a rethinking of the human body in Les Demoiselles.# This ranges from a simplified naturalism, (in the centre figures) to an increased sense of fragmentation in to angular forms, each of which appears to have an independent existence. Such disjunction of body parts challenged the standards by which the human body had been constructed before. In synchronicity, the background elements of draperies and wall were fragmented, aligned with the figural handling.
    Picasso initiated Cubism at the age of twenty-six after he already had established himself as a successful painter. According to Souchre, Picasso led the evolution towards cubism in order to "escape the tyranny of the laws of the tangible world, to fly beyond all the degradations of the lie, the stupidity of criticism, towards that total freedom which inspired his youth." As Barnes notes, Cubism was an art that concentrated on forms, and an artist's job was to give life to that form. Until this goal is accomplished, the Cubist painter has not fully realized his purpose.
    After his initial Cubist period, Picasso moved through various other stages. He experimented with sculpture and still lifes, and by his death at the age of ninety-two, could be considered "the most famous and talked about painter in recent history." (Barnes). After progressing past Cubism, Picasso frequently came back to this style of painting because, as stated by Souchre, Picasso felt liberated and powerful when painting this way and believed Cubism to be the best way to speak out against the scandalous outer world. As Picasso pointed out Cubism "is the attitude of aggression" that could give him complete control over himself, his emotions, and his surroundings. This logically leads to a brief discussion of what Picasso felt was art and what he considered the duty of the artist to be. In a brief conversation with one of his biographers, Picasso commented that he saw art as something not to be understood or interpreted. Everyone wants to understand art.... In the case of a painting people have to understand. If only they would realize above all that an artist works out of necessity, that he himself is only a trifling bit of the world, and that no more importance should be attached to him than to plenty of other things, things which please us in the world, though we can't explain them (Barnes). Picasso painted for himself, as a release from the pressures of his society and as a way to express his ... more

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Parrell scenes In Ethan Frome

In Ethan Frome author Edith Wharton uses parallel scenes of Zeena and Mattie opening the farmhouse door.  In both scenes Ethan was locked out of the house, both nights he searched for the key, but never succeeded to find it.  In both scenes the two women come to the door and hold the lamp in the same position.  Both scenes are portrayed in total synchronicity.  The way Ethan examined each of the women was a difference in the parallel scenes.  Although the scenes contained many similarities, they also contain differences as well.  
A main difference was the appearance of the two women.  Zeena appeared to be very old, extremely wretched and ugly, as well as threatening to Ethan.  Ethan said himself that he had never before known what his wife had looked like. The light brought out her puckered throat and her bony projecting wrist.  Zeenas body was long and flat chested.  Her hair tightly held back by crimping pins, and her face in a constant frown.  
Although the lamplight portrayed a negative result toward Zeena, the appearance of Mattie was outstanding to Ethan.  Mattie looked more beautiful than ever.  When Ethan went to the house he was secretly anticipating being alone with Mattie and expecting to enjoy it as well.  Mattie held the lamplight to her advantage.  The light made her taller, fuller, and more of a womanly shape.  The light made her eyes a velvet shade, and laid a milky whiteness under her brow.  Matties body appeared much more of that of a woman.  Her hair was tied back with a beautiful, elegant crimson ribbon.  Moreover her attire was more of a womans and she appeared much more grown up.  
Besides physical appearance, both of the womens moods were varied.  Zeena opened the door with a bad attitude and disconceiving mood.  Mattie, however, opened the door with content and happiness to see Ethan, while Zeena felt animosity toward the both of Mattie and Ethan.  
Another difference of the parallel scenes was that the kitchen had two distinct feelings when the door opened.  When Zeena opened the door the kitchen had the deadly chill of a vault.  However, when Mattie opened the door, the table was set for dinner and appeared warm and like that of a home.  Zeena speaks in a harsh sounding tone when she says, I felt so mean I couldnt sleep.  But Mattie leads Ethan down a silent hall to happiness.  
At this point in the story Ethan obviously had distinct feelings for Mattie.  The way he gets jealous when he finds Denis Eady over the house.  Or the way he sees her in such beautiful ways, such as in the parallel scenes.  Or even the way he holds her hand when walking back to the house.  
The parallel scenes contrasted many similarities and differences and overlayed a view of the continuing story.  By the time the scenes description was over, it was concluded that Mattie made the difference in Ethan Fromes life.  



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