Woman in green. Story by picture

The leaves turned yellow, nature froze. The artist conveys sadness. Whole family to gather. An upset mother cannot hide her kindness. (Option: the boy is habitually waiting for punishment.) The color scheme is muted. But the red tie, the red carpet, and the red bike on the chain suggest that the misunderstanding is temporary. The theme of unbreakable family love in the image of a faithful puppy. Five plus. Will go to the competition.

Today, human perception is undergoing a clear upgrade. It seemed to me interesting in connection with this to change the exhibits of the school vernissage. Like we develop imagination instead of literacy, because Google is now responsible for literacy, and almost no one is responsible for imagination. So Pablo Picasso, The Woman in Green. Yes, I forgot to say, portraits have always been more of a problem, it’s true. Now you have to invent an intolerable life for some count, then a joyful life for a peasant woman, then an orphan life for a child. But something like “why does he have yellow nails, and she has a torch in her hand” made me leave the familiar path into the mushroom undergrowth of unchildish experience. But today we have a better option.

Read more:

• What does this picture tell me? “Three Ages” by Titian

Picasso. “Woman in Green” Portrait of Dora Maar. Which class to take? Let’s say eighth. I guess that’s the way of thinking. All you can’t argue with is the color. Green. (Green-green like what? Yes, there is no such thing anymore.) Then five minutes – a tunnel without lighting. Then we turn on the light.

So what is it, woman? This animal is most likely domestic, most likely from the boar family. But the mane may turn out to be a horse. Or maybe an anteater. Why did he do it? Didn’t love Dora Maar? Hated her? Revenge? I drew it in the dark, and therefore the eyes are different – although people, of course, have different eyes. But we still have eyes, not targets in a shooting range. But the author somehow managed to provide these targets with experience. They seem to be sad. Each in its own way. And so they look like two sad fish.

If you forget about the face, then this is, so be it, a woman. She has breasts (one plus), arms (of course, different – it is already clear that the artist is simply not able to depict two identical objects), buttocks and a dress of the original style. Cover it, on the one hand, emphasizes a large figure, and the butt, on the other, the tension of the pose. The dress is not enough for a woman. That’s what it means. You can see it in the hands. In general, also not quite human and it is not clear how they squeezed into these sleeves. All together it looks like a shell. Is the shell a defense or a fight? We didn’t understand much here.

Read more:

• What does this picture tell me? “Ophelia” by John Everett Millais

A woman is able to speak – a mouth is found between the snout and the dress the second time. In profile. Like from another person. What does it mean? That Dora Maar never spoke directly to the author? Talked so much that you wanted to turn this fountain? Was it impossible to get reciprocity from her? The mouth is added last – because her words did not mean anything, and without a mouth there is no face? (Assumption from the third desk: is the mouth turned for a kiss?)

There are nine minutes left.

God, we haven’t said anything about her fate yet. In a nutshell: compared to the girl with peaches we described last quarter, the woman in green is, of course, unhappy. Why? External data does not help. Although the hands say otherwise. They say that it would be good to pay attention to them. To transfer, so to speak, the emphasis from the zoological facade to this yellow (crossed out) red (crossed out), hint from the first desk: coffee! a tangle of friendly bobbins. It is they who keep the whole figure in balance, shading it with independent geometry and color. They seem to be at work. Or just from there. Probably, their mistress also drew or wrote, because the hands are connected in color with the so-called face.

There was a minute and a half left.

So, in principle, Dora Maar as a person has a future. I mean the past. Such dense. She was clearly asserting herself. Although at the end she could have been slightly moved from all this distortion and shortness of breath. There is no perspective in the picture, except for something like a theatrical curtain. Hence the option arose that all this is just a mask, and the real Dora is somewhere in striped hair. Or only in the imagination of Picasso, whose talent we secretly doubt as a whole class.