Picasso’s Three Musicians of 1921 is an exercise in flat shapes and two-dimensionality.Three Musicians demonstrates principles and observable characteristics of Synthetic Cubism.
In compare to Analytic Cubism, developed between 1908 and 1912 by Picasso and Georges Braque, Synthetic Cubism is arrived at through a construction procedure instead of an intellectual breaking down of types found in the real planet like cylinders, spheres, and cones. Synthetic Cubism is a bit more decorative and experimental in nature than Analytic Cubism.
In this pic the flat planes and absence of the shading technique usually employed to intimate level and realistic room expect the artist’s later foray into collage: the peak or many extreme permutation of Synthetic Cubism.
With regard to the topic mater, Picasso’s Three Musicians recalls a somewhat idealized bygone era of bohemian existence. Below, Picasso in the guise of the central figure of the Harlequin, is flanked by the newly deceased Guilliame Apollinaire and longtime friend Max Jacob.
Furthermore, the Harlequin, it’s significant to note, is a repeated stand-in for the artist himself. A stock character of the traveling Italian comedic troupe recognised as the Commedia dell’Arte, the Harlequin absorbed lower-class connotations and was a lot emblematic of the outsider status of the artist-performer.
The part of outsider, naturally, had a sturdy appeal to Picasso and explains his repeated self-identification with all the figure. By aligning his identity with that of the Commedia dell’Arte figure, Picasso drew emphatic attention to his isolated existence as an artist.
Picasso’s substitution of the Harlequin for himself is a technique he initially utilized between 1901 and 1905 during his Rose period.
As a happen Three Musicians is a painting that points to the past.
The reintegration of the Harlequin into Picasso’s painting is possibly indicative of the artist reconsidering his creative and social identity. However the revival of the Harlequin can have more straightforward, formal implications. The figure’s signature costume of brightly colored, intensely patterned cloth can merely be an reason for Picasso to further test with surface shape and flat geometry.