The Visual Grammar of Pablo Picasso (Berkeley Insights in Linguistics and Semiotics .54) (2003. XVI, 346 S. 230 mm)

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English

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Pablo Picasso’s continued search for the essential features of perceived objects and his natural abidance to the general principles regulating artistic creation determined his intuitive analysis of the various stages of vision. His exploration of pictorial language is reflected in the well-established periods in the development of Cubism. Progressively, objects were analyzed first by their image (or retinal) and surface (or external) features as viewed from particular observer-oriented viewpoints during the Pre-Cubist and Cézannian Cubist stages; then by viewer-independent, structural features during Analytic Cubism; and finally by categorial features during Synthetic Cubism. This final re-evaluation allowed the artist to treat pictorial language as truly arbitrary, leading to metaphorical correlations between objects that went beyond what was actually depicted on the surface of the canvas.

A linguist by training, Mallen (Hispanic studies, Texas A&M U.-College Station) argues that at an intuitive level, the three major of stages of Cubism Cžannian, analytic, and synthetic follow roughly the three major levels of visual perception surface-based, object- based, and category-based. He notes that Picasso was very interested in mental mechanisms, but only at an aesthetic and intuitive level, and he does not assume or argue that the painter was aware of any of the parallel accomplishments in the sciences as he pursued his search for the essential aspects of object perception. Annotation (c) Book News, Inc., Portland, OR (booknews.com)

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