The document is a detailed presentation about the life and works of Pablo Picasso, a prominent 20th-century artist known for co-founding the cubist movement and exploring various artistic styles. It includes a biography of Picasso, analyses of significant artworks such as 'Weeping Woman', 'Guernica', and 'Les Demoiselles d'Avignon', as well as insights into his personal life and artistic legacy. The conclusion emphasizes Picasso's impact on modern art and his status as a unique and troubled genius.

1. Cover Page
Subject
Your name
Course title
Professor’s name
Date
Favorite Artist:
Picture of your artist
Favorite Artist:
Biography of your artist
Image of the first artwork
Title, date if known, medium, size, current location
Description and analysis of the first artwork
Image of the second artwork

2. Title, date if known, medium, size, current location
Description and analysis of the second artwork
Image of the third artwork
Title, date if known, medium, size, current location
Description and analysis of the third artwork
Conclusion
Works cited
Pablo Picasso
(you can be creative to choose a title)
Art 100 Art Appreciation
Student’s name
Professsor’s name
Date submitted
Pablo Picasso (25 October 1881 – 8 April 1973)

3. Biography
Pablo Picasso is considered to be one of the most famous
painters in the twentieth century. He was born in Malaga, Spain
on October 20, 1881. In addition to painting, Picasso was also a
printmaker, ceramicist, stage designer, poet and playwright. He
spent most of his adult life in France.
Early life
Picasso showed a passion and a skill for drawing from an early
age. According to his mother, his first words were "piz, piz", a
shortening of lápiz, the Spanish word for "pencil". From the age
of seven, Picasso received formal artistic training from his
father in figure drawing and oil painting. On one occasion, the
father found his son painting over his unfinished sketch of a
pigeon. Observing the precision of his son's technique, the
father felt that the thirteen-year-old Picasso had surpassed him
and vowed to give up painting.
Fame
Picasso grew up to become one of the greatest and most
influential artists of the 20th century, he is known for co-
founding the Cubist movement, the invention of constructed
sculpture, the co-invention of collage, and for the wide variety
of styles that he helped develop and explore. Picasso is now
regarded as one of the artists who most defined the
revolutionary developments in the plastic arts in the opening
decades of the 20th century

4. Personal life and Death
Picasso had affairs with a lot of women and was married twice
and had four children, Paulo, Maya, Claude and Paloma by three
women. He died on 8 April 1973 in Mougins, France, while he
and his wife Jacqueline entertained friends for dinner. He was
interred at the Chateau of Vauvenargues near Aix-en-Provence,
a property he had acquired in 1958 and occupied with
Jacqueline between 1959 and 1962. Jacqueline Roque prevented
his children Claude and Paloma from attending the funeral.
Devastated and lonely after the death of Picasso, Jacqueline
Roque killed herself by gunshot in 1986 when she was 59 years
old.
The weeping woman
October 26, 1937
Oil on canvas
t has been in the collection of the Tate Modern in London since
1987 and is currently located there.
Analysis
The color scheme used in the painting seems like a mystery.
Picasso frequently used a monochrome or even
a grisaille palette when evoking pain and suffering. By contrast,
the palette used in "Weeping Woman" incorporates all the major
colors, including red, yellow, blue, as well as orange, green and
brown. I think Picasso was trying to imbue the woman with
strong feelings.
The most obvious meaning of the "Weeping Woman", when
interpreted against the background of the ongoing civil war in
Spain, is straightforward. Formally dressed, as though at a
funeral or other place of mourning, she represents the harrowing
grief experienced by mothers, sisters and others, following the

5. death of a loved one, especially during wartime. As in Guernica,
the focus is on the pain and suffering endured by innocent
civilians.
Guernica
June 1937
Painting
Museo
Nacional Centro de Arte Reina Sofía
Analysis
The scene depicted in Guernica is a room full of moving,
screaming and dying adults, children and animals. Most of the
individual images are also symbols (see suggested meaning in
brackets). On the left, a bull (virility of man) pierced by jagged
shrapnel (its wounds plus its passivity suggests man is in
trouble) stands over a wailing woman with a dead child in her
arms (pietaimage, the age-old suffering of women in war). In
the center a horse (representing innocent people) is whinnying
in agony from a terrible injury in its side. Underneath the horse
are the shattered remnants of a dead soldier; in the grip of the
hand on his severed arm is a broken sword out of which a
flower grows. On the palm of his other hand signs of
the stigmata of Christ are visible, indicating martyrdom. Above
the dying horse is a blazing light (symbolizes incendiary bombs
that fell on the town), which is also reminiscent of the bare bulb
in a prison cell (torture). On the horse's right, an open-mouthed
woman seems to have stuck her head and arm through a window
(horrified observer). In her hand she holds a lighted lamp.
Another confused woman moves from the right towards the light

6. in the center (dazed victim). On the extreme right of the room, a
figure screams in agony as it is engulfed by flames (innocent
victim).
Les Demoiselles d’Avignon
1907
Oil on canvas
The museum of modern art
Analysis
The picture is like a cinematic close-up. The five women - each
over seven feet tall - are shockingly present, pressing
themselves to the surface of the picture. The color of their flesh
makes them appear starkly naked rather than merely nude. T he
way the figures are grouped is also striking there appears to be
no connection between them, which heightens the drama of the
picture as well as its uncertainty. The two central women, in
particular, are especially provocative: they stare
expressionlessly out at the viewer, while lifting their arms to
show their breasts. These women - all aggressively flaunting
their nudity - are real prostitutes with no hang-ups about what
they have to offer. The head of one figure (top right) is covered
with a primitive mask; while a second, squatting, figure (bottom
right) is also masked, although her face is made up of multiple
views, like a badly arranged jigsaw.
Conclusion
Picasso the artist became the genius that can only be compared

7. with few human beings. He rewarded art not just with his
creative and unique styles, but also with the numerous
paintings, drawings, and sculptures he produced. Picasso was a
troubled, eccentric, problematic man who could never settle
down with a woman or a place of residence, maybe what we
could call a "free spirit". Picasso, the man, was also an activist.
He fought for peace until his last days. However, no matter how
troubled Picasso was, the man was overshadowed by his own
art. In addition, even though one might not like his works, one
cannot deny that without Picasso, modern art and the world
would be much poorer, so that is why I decided to present about
one of my favorite artists of all times, the unique Pablo Picasso.
Work cited
McCully, Marilyn. “Pablo Picasso.” Encyclopædia Britannica,
Encyclopædia Britannica, Inc., 4 Apr. 2020,
www.britannica.com/biography/Pablo-Picasso.
“Picasso Paintings & Sculptures, Bio, Ideas.” The Art Story,
2014, www.theartstory.org/artist/picasso-pablo/.
“Seth Siegelaub's The Artist's Reserved Rights Transfer and
Sale Agreement (French Version).” Guggenheim, 22 Apr. 2013,
www.guggenheim.org/artwork/artist/pablo-picasso.
“Pablo Picasso Biography.” Masterworks Fine Art Gallery,
2009, www.masterworksfineart.com/artists/pablo-
picasso/biography.
“Pablo Picasso Biography.” Masterworks Fine Art Gallery,
2012, www.masterworksfineart.com/artists/pablo-
picasso/biography.
“Pablo Picasso.” From the History of Art & Design, 7 Mar.
2010, beatwicki.wordpress.com/2010/02/16/pablo-picasso/.
PRESENTATION GUIDELINES:

8. The cover slide for the PowerPoint presentation should include
the following information: title of project, your name, course
title and number, course instructor, and date project is
submitted. All sources should be cited and be listed in a
separate bibliography attached at the end of your presentation.
Use APA or MLA style citation.
Include images of the artworks. Type label information.
Find various publications for your choices and discuss the
different interpretations suggested by different scholars.
Wikipedia will not be accepted as a resource.
Make sure you proofread the text for adhering to the
information listed above, as well as incorrect grammar, spelling,
punctuation, and other errors. A formal analysis includes an
analysis of the forms appearing in the work you have chosen.
These forms give the work its expression, message, or meaning.
A formal analysis assumes a work of art is (1) a constructed
object (2) that has been created with a stable meaning (even
though it might not be clear to the viewer) (3) that can be
ascertained by studying the relationships between the elements
of the work. To aid in writing a formal analysis, you should
think as if you were describing the work of art to someone who
has never seen it before. When your reader finishes reading
your analysis, she/he should have a complete mental picture of
what the work looks like. Yet, the formal analysis is more than
just a description of the work. It should also include a thesis
statement that reflects your conclusions about the work. The
thesis statement may, in general, answer a question like these:
What do I think is the meaning of this work? What is the
message that this work or artist sends to the viewer? What is
this work all about? The thesis statement is an important
element. It sets the tone for the entire paper and sets it apart
from being a merely descriptive paper.

9. In the first paragraph, called the introduction, you will include:
· the name of the artist (if known), title (which is underlined or
italicizedevery time you use the title in your paper, date, and
medium (if known)
· what you think is the subject
· a very brief description of the work
· thesis statement - usually the last line or so of your first
paragraph.
From that point, the rest of the formal analysis should include
not only a description of the piece, but especially those details
of the work that have led you to come to your thesis. Yet, your
paper should not be a random flow of ideas about the work (i.e.
stream of consciousness writing). Rather, your paper should
have a sense of order, moving purposefully through your
description with regard to specific elements (ex: one paragraph
may deal with composition, another with a description of the
figures, another with the background, another about line, etc.).
Please use descriptive language and adjectives to describe your
work. Begin with a general description of the work, and then
move on to the more specific elements. Finally, in your
conclusion (the final paragraph) you should end your paper with
a restatement of your thesis.
Things to consider when writing a formal analysis (in no
particular order):
Keep in mind that you always need to Back Up Your
Statements!
1. Record your first impression(s) of the artwork. What stands
out? Is there a focal point (an area to which the artist wants
your eye to be drawn)? If so, what formal elements led you to
this conclusion? Your impressions can help you reach your
thesis.
2. What is the subject of the artwork?
3. Composition: How are the parts of the work arranged? Is
there a stable or unstable composition? Is it dynamic? Full of

10. movement? Or is it static?
4. Pose: If the work has figures, are the proportions believable?
Realistic? Describe the pose(s). Is the figure active, calm,
graceful, stiff, tense, or relaxed? Does the figure convey a
mood? If there are several figures, how do they relate to each
other (do they interact? not?)?
5. Proportions: Does the whole or even individual parts of the
figure(s) or natural objects in the work look natural? Why did
you come to this conclusion?
6. Line: Are the outlines (whether perceived or actual) smooth,
fuzzy, clear? Are the main lines vertical, horizontal, diagonal,
or curved, or a combination of any of these? Are the lines
jagged and full of energy? Sketchy? Geometric? Curvilinear?
Bold? Subtle?
7. Space: If the artist conveys space, what type of space is
used? What is the relation of the main figure to the space
around it? Are the main figures entirely within the space (if the
artwork is a painting), or are parts of the bodies cut off by the
edge of the artwork? Is the setting illusionistic, as if one could
enter the space of the painting, or is it flat and two-dimensional,
a space that one could not possibly enter?
8. Texture: If a sculpture, is the surface smooth and polished or
rough? Are there several textures conveyed? Where and How? If
a painting, is there any texture to the paint surface? Are the
brushstrokes invisible? Brushy? Sketchy? Loose and flowing?
Or tight and controlled?
9. Light and Shadow: Are shadows visible? Where? Are there
dark shadows, light shadows, or both? How do the shadows
affect the work?
10. Size: How big is the artwork? Are the figures or objects in
the work life-sized, larger or smaller than life? How does the
size affect the work?
11. Color: What type of colors are used in the work? Bright?
Dull? Complimentary? Does the artist use colors to draw your
attention to specific areas of the work? How? If a sculpture,
examine the color(s) of the medium and how it affects the work.

11. 12. Mood: Do you sense an overall mood in the artwork?
Perhaps several different moods? If so, describe them. How
does the mood interpret how you view the work?
Once you have spent some time analyzing your work, notice if
your first impression of the work has changed now that you
have taken a closer look? How? If you came up with a thesis
statement before doing this in-depth analysis, you may want to
change it if your impression of the work has changed. Your
thesis statement should reflect your view of the object.