FINE112 Lecture Notes - Lecture 3: Cubism, Semiotics, Torero
23 Oct 2016
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Document Summary
Never is the practice of semiotics more essential than when analyzing a cubist piece of art. Cubism rejects tradition viewpoints in favour of fractured picture planes and simple geometric shapes. The result is a composition that seems to suggest some form but remains ambiguous. Semiotics is used to interpret signifiers (words and visual forms) and their significance (harrison, 103). In picasso"s 1912 oil on canvas l"aficionado semiotics are used to reconstruct the narrative and highlight irony within the context of the time and place of the painting. L"aficionado like many cubist works, appears at first glance to be a collection of geometric shapes roughly layered to create the suggestion of a form. In this way, cubism exists as a puzzle or riddle to be unscrambled and can be analyzed in much the same way as one would analyze poetry. Various features of the painting act as clues, supplemented by knowledge of the life of.
