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Extending the Boundaries Analyzing Picasso's The Dance
"Suddenly, in June 15, a picture appeared that flabbergasted critics and upset everything The Dance" (77)
June, 15. The revolving windmill is transmitted from Anacostia, Maryland to Washington, D.C. through the first public demonstration of a television system. Nations agreed to ban the use of chemical and bacterial weapons in war. The first international feminist convention opened in Geneva and amidst all these events, Picasso continued to shock the world in his own way through his new painting, The Dance.
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Thanks to the rise in surrealism, his deteriorating relationship with Olga, and his continuing development of style, Pablo Picasso created a ground breaking masterpiece. He was on the verge of a completely new technique and wanted the whole world to recognize and follow his path into the unknown.
The Dance dared to venture into the wild with the combination of colors, cubes and angular appearances. It has hidden background images while at the same time blatantly obvious disfigured profiles. The experimentation with detailed angles, body separation and vague silhouettes created a mixture to question and provoke. Just as in Picasso's life at the time of the painting, everything's mixed up and perceptions were becoming distorted. "With this picture, Picasso is said to have been, 'bent on expressing drunken abandonment to unleashed instincts.'"(77) He took the time to indulge in his extreme ideas. Not only did he set a new twist to his previous classical repertoire, he completely strayed from the set path.
Too often in the 0th century, the boundaries were set and it was understood which lines weren't to be crossed. Today those who stretch the limits are looked at to follow and admire. They are much more accepted than in Picasso's era. His steps into the unknown provided an incredible contrast to the classic acceptance. Where would the world as a whole be without the risk takers, or the dreamers? It is those that tend to question the so-called certainties that we have come to know that have changed our way of life in ways never dreams possible before. It was The Dance that truly moved Picasso into uncharted territories, and it was evident his way of art would never be the same again.
There are always many quick to criticize and judge the true meaning behind a painting of this proportion and advancement for the time. It's understood that at this time, Olga's depiction of Picasso's painting was that of a worldly level, and nothing more. It's almost possible to picture Olga in the painting, wild and upset, trying to hold on to Picasso, the dark silhouette in the background. Their hands are meeting, but just enough to touch. Her body is full of designs and activity. She is full of dreams and goals, ideas and other priorities. As opposed to Pablo who's silhouette is dark, simple, and calm. He is a solid one or two color based image. Painting is his life, and while there may be some finer benefits along the way, the figure that stands between him and "Olga", the disfigured, detailed woman on the right, it is evident that that may be as close as they can ever come, because there is simply too much in between, and Picasso is already beginning to fall into the shadows. The middle figure seems to be holding both of their hands, either pushing them apart of holding them at just a distance as if dancing with them in circles. Circling around the truth and important discussions. Forcing them to take time out to dance and forget, stray from the truth for a moment longer, no matter how ugly or surreal it may have become.
Picasso did not truly merge into this way of art, he jumped right into it. By skipping the tentative, gradual steps taken by many before him, he forced the world to take a step back and discuss what was coming next. First this primitive surrealism, then what was to come from this disorganization? This new art form was of nothing particularly noted before. Pablo caught the world by surprise, and shocked many into this new way of life without question, forcing acceptance upon them.
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