Discuss the relationship between the form and the content in Les Demoiselles D’Avignon

Discuss the relationship between the form and the content in Les Demoiselles D’Avignon The relationship between the form and content of ‘Les Demoiselles D’Avignon’ is one of intense complexity. The two are inherently reflective of each other; the instantaneous repulsion and horror of the form conveys the horrific nature of its content. However, what is so definitive about ‘Les Demoiselles’ is its eventual precedence of form. Picasso rejects the reality of the image in favour of the image perceived by its beholder. It is this perception that dictates the form of the piece and less so its narrative. Following Picasso’s inspiration from African art his images become understood as representational, but not simply an imitation of nature1. The very composition of the piece (a matter of form) is an extension of the narrative, as Picasso challenges the viewer as the voyeur of the scene2 as if they themselves are the brothel visitors. This extension of the conception and cognition of the painting through its formal composition heightens the increased importance of form over content. This comprehension requires the exploration of the painting’s form by the viewer and is therefore intrinsically reflective of its thematic content. The painting is inherently semiotic and suggestive rather than mimetic; it thus demands a process of recognition from its observer. This direct involvement of the viewer makes the painting a collective effort, the painter speaks and the viewer comprehends. The viewer is not only challenged by the initial repugnance of the piece, but by an actual compulsion to further observe and further understand. Integral to Picasso’s ‘Les Demoiselles’ is the influence of African art. Picasso believed the West to be more dependent on ‘knowing’ than ‘seeing’3. This is evident in the painting where just as in African masks the rough shapes formed are not intended as crude imitations of the human face, but as symbols of them. This is most evident in the