Similarities Between Picasso And Deborah Butterfield
At first sight, it’s difficult to find out any feature shared by the Pablo Picasso’s and Deborah Butterfield’s sculptures; only after investigating some time analyzing these artworks one may realize both artworks are actually based on the same subject matter – on the image of an animal, that is. Neither the shape, nor the colors, nor the texture seem to be common between them. This fact amazes the viewer as it demonstrates how the artists’ differing personalities and artistic inclinations can lead to such the different interpretations of one topic.
Concerning the artwork’s shape, Butterfield’s design is quite conventional. Even though some details are exaggerated or modified, she basically merely imitates the real object. She sees art as the process of adeptly copying the subject. Almost nobody would be confused figuring out what the artist’s intention is as the four legs, the torso, the head – every aspect of this artwork indicates that this is a sculpture of an animal (a horse, most likely). …show more content…
Instead of gently copying the object, Picasso pays attention to the particular characteristics of it, such as the head, the backbone and the ribs of an animal, and depicts each of them independently. Eventually, these details are rearranged into so-called sculpture. The whole artwork is no longer an integrated object but is solely a list of the object’s details. In other words, Picasso’s sculpture is a thesis rather than a craft; a thesis that argues what the subject’s features
Concerning the artwork’s shape, Butterfield’s design is quite conventional. Even though some details are exaggerated or modified, she basically merely imitates the real object. She sees art as the process of adeptly copying the subject. Almost nobody would be confused figuring out what the artist’s intention is as the four legs, the torso, the head – every aspect of this artwork indicates that this is a sculpture of an animal (a horse, most likely). …show more content…
Instead of gently copying the object, Picasso pays attention to the particular characteristics of it, such as the head, the backbone and the ribs of an animal, and depicts each of them independently. Eventually, these details are rearranged into so-called sculpture. The whole artwork is no longer an integrated object but is solely a list of the object’s details. In other words, Picasso’s sculpture is a thesis rather than a craft; a thesis that argues what the subject’s features