rother of Gertrude Stein , commented at the first viewing of Les Demoiselles d?Avignon , "You've been trying to paint the fourth dimension. How amusing!"9 His comment was actually quite astute. Leo Stein noticed that Picasso had completely abandoned the system of linear perspective created by Brunelleschi in the early 1400?s. Picasso wanted to go beyond the physical limitations of linear perspective. Linear perspective restrained Picasso from painting beyond what the eye could see. He wanted to paint what the mind could see. He was very aware that people look at objects and capture the image in their minds from many different perspectives. The object?s important qualities then melt together in a single memory. Many visual perspectives become one perspective of the mind. Cezanne influenced Picasso heavily in this sort of thought. Cezanne once said ?I think of art as personal apperception. I place this perception in sensation , and I require that the intelligence organize it into a work or art.?10 Cezanne is speaking of perceiving an object or scene in ones mind , then using your memories and logic to paint what you saw. Unfortunately Cezanne knew that he had not achieved what he preached , although he did recognize that he was onto some new kind of art. Picasso manifested Cezanne?s theories in Les Demoiselles d?Avignon. He did it by skipping the whole painting with logic. Tradition lies within logic. Picasso defied logic in many instances in Les Demoiselles d?Avignon. An example of this occurs in the bottom right hand corner of the painting. Picasso defies logic and gives us a full frontal view of the figures face with a full view of the her back. This is obviously a perspective that the human eye cannot see. If we are staring at someone's back , then their entire face cannot be viewed as it is in Les Demoiselles d?Avignon. Another distortion occurs in the painting of the women on the far right. She is painted ...
