Picasso as Precursor


Picasso is paid homage in the striking cubist oil below (P-4). The artist is the male profile featured on the right side of the woman’s face.  Is the woman thinking of the artist or is the artist contemplating his subject?  The subject of any work of art is the artist himself. In our dreams we are both male and female. We project into the world  all who people it.  The arm resting on the monumental leg alludes to Dali. The burgundy tresses are balanced by the arm, legs and toes.


Mascolo 4

In Painting Five the serenity of Roman Classicism is explored.


Mascolo 5

The gold lines of the oil and the evocation of the Mediterranean Sea give a depth of field that is rendered with a remarkable economy. The knees are pulled up to the chest and a supple gown is created out of a  series of simple geometric forms.

 In Painting Six, the cubist molding of the left side of the face is in dramatic contrast to the naturalistic eye and brow of the right. The four quarters of background is suggestive of Rothko and the large volumes of colors that dominate the American Abstract Expressionists.


Mascolo 6

In Painting Seven, the chair back doubles as an angel’s wings.  The breast is offered by a Madonna who is both Holy Mother and holy harlot. Eyebrows, eyes, shadow under the nose, and mouth are nearly identical and with the fan suggests a Japanese geisha.


Mascolo 7

Picasso, Braque and Gris all made cubist statements of women and musicians. In Painting Eight, Mascolo is captivated by a similar muse:


Mascolo 9

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