“Daix here puts his finger on a pattern that will recur throughout Picasso’s life. Realism is the visual language of love; when the affair turns sour, Picasso turns away from the object and reverts to Cubist distortions, which convey simultaneously lust, rage, and the desire to mutilate and destroy” [E. Michael Jones, Degenerate Moderns (San Francisco: Ignatius Press, 1993), pp. 17-18].
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