Art Critic Louis Choi Chul-joo
Contemporary ArtReview Picasso Weeping W
Art Critic Louis Choi Chul-joo Criticism [74] Pablo Picasso, Weeping Woman, 1937, Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: Pablo Picasso, Weeping Woman, 1937
Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London
Pablo Picasso, Weeping Woman
Painting that transitions from the modern to the contemporary is the art of using images as the theme or in the linguistic sense of a painting. Therefore, Pablo Picasso's The Weeping Woman (1881-1973) as the flat image is a three-dimensional structure and an ontological structure visualized by collages of divided sides.
This is a contemporary visualization of not only the sorrow that Picasso expressed, but also the fundamental suffering of realism as a human being.
Abstracting realistic images into other people's desire structures is not irrelevant to flat crooked images.
Beyond the dimensions of "The Woman Is Weeping," an unrealistic visual image of abstraction, it transitions from each other's desires to areas of gaze that don't matter whether it's flat or three-dimensional, to divided realism images.
It interprets from a psychological point of view to perceive the continuity of the realist image as a gaze according to the temporality included in "Weeping Woman".
The motion of an object changes the spatial structure of the background by continuity over time.
The abstract background is an aestheticization of historical events, depicting emotions in historical paintings and portraits.
Thus, the abstract background of "The Weeping Woman" determines the space that exists in the Spanish Civil War, the place of aesthetic facial movement according to time, and the space that exists in the passage of time, that is, the spatiality of the crooked image.
Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London
The tears of a woman who can't hold back her sadness are connected in a straight line between her eyes and an ellipse to tell her where she is away from her eyes. As a situation that continues to show the traces of water flowing down at the end of the eye, the woman's face shows the side and the front at the same time, and the movement of the woman crying makes her feel sad at first glance.
The line that marks the direction of the crying woman's tears forms the process of time and the space in which it exists.
This is because the dwarf image in the form revealed from the line is composed at the momentary point of time, and as a temporality, it reveals in three dimensions the suppressed social structure of an emotion through a woman's inner sensibility and existence.
In this way, the picture of a woman crying in the social structure does not have a perspective density and a sense formed from a single light source point of view by choosing a crooked image integrated with lines. Here, the crying woman's face is a partial crooked image like a collage. This means that each partial image exists in space as a crooked shape revealed at the same time.
Through the crying woman, he expressed the complexity of emotions with his face and hands through the distortion of the cubist form, allowing him to stare at the intensity of his emotions with a strong contrast of primary colors to radiate the energy of sadness from his head.
The energy released in this way gathers the gaze of the viewer of the sad face that existed in the space.
Pablo Picasso, Weeping Woman, 60.8×50cm, oil on canvas, 1937, Tate Gallery, London
Picasso offers a new direction of gaze by reconstructing the eyes, eyebrows, and ears in various directions in the painting. It also reveals the up and down positions that connect the eyes and tears. He shapes his face into geometric shapes to represent the sobbing head of a crying woman and the movement of her flowing tears in segmented realist images.
Additionally, his cubist representation visualized the complex emotions of pain by decomposing and recombining the woman's face into various angles, and the crying woman's movement while showing the side and the front at the same time makes one feel sad at first glance. The line that marks the direction of the crying woman's tears makes one aware of the process of time and the linguistic meaning of the image of sadness in which it existed.
The direction of the moving tears expressed here constituted a fragmented form of realism from a psychological point of view that recognizes the linguistic meaning of the subject generated from the observer's gaze. Here, the symbolic image represents the sadness of a woman who lost her family to war.
In this way, Picasso's three-dimensional sculpture creates a geometric shape as a new architectural space structure in a different dimension from the existing perspective. Instead of the perspective of the previous painting, he superimposes an object on the same screen from various perspectives. This superimposed sense of volume is transferred to the sense of movement that the object is trying to express, creating a dynamic space.
His three-dimensional structure simultaneously decomposes a cross-section of an object and superimposes the decomposed cross-section on another object, placing it in the position of his choice like a collage. As a result, several forms from different perspectives are overlapped on the same monochromatic plane. The result is a distorted plane image that was not seen in perspective images.
This is interpreted as an abstract portrait in which simultaneously decomposed cross-sections go beyond the sadness of a crying woman and perceive it as the pain of the whole human race.
In addition, Paul Cézanne's flat screen composition is a cross-sectional form and is close to a realistic image. This cross-sectional expression method is the principle of the simultaneity of cubism and coincides with the simultaneous vision that divides an object into several viewpoints and puts it in the same canvas. This simultaneity and distortion of his cubist form abstracts "Weeping Woman" as a symbolic structure by expressing the complexity of emotions.
As a new attempt to reject the mannerism of previous painters, he flattened the distorted image of the face revealed as an object as a reality of temporality, or a multidimensional gaze, on canvas.
In "Weeping Woman" a woman's face is a distorted image, and space for an object is made into a face by temporality, and another space is created in the form of crying. In such a space, multiple viewpoints are dismantled, and two eyes with different viewpoints are overlapped on a canvas as a single face image. In other words, the object is dismantled with the other person's gaze and collected on the canvas as a cubist image.
In this way, the perspective visual structure is a language structure revealed by the unconscious desire that has disappeared and is composed of an image as a gaze space. This is a cubist process and has an artistic meaning as an abstraction. By combining distorted images carved from the reality of unconscious desire and gaze images using collage techniques, Picasso constructs sadness. It also makes us recognize that realismimages of the segmented plane of grief are abstracted into multi-faceted conceptual abstract realism images as formative structures./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)
Choi Chul-joo, a art Critic