Example sentences of "in [art] demoiselles " in BNC.
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| 1 | ‘ These are stark problems , white equations on a black-board ’ , Salmon has written of the figures in the Demoiselles . |
| 2 | And any influence of Cézanne that there may be in the Demoiselles as it now appears is of the most general kind . |
| 3 | This is a point which it would be useless to push too far ; the pose of the second figure from the left in the Demoiselles , for instance , was one which Picasso had already used frequently in his earlier work . |
| 4 | Both heads have the same staring expression , the same irregular contours and the same heavy jaws as the central figure in the Demoiselles , although the male head seems to have interested Picasso most . |
| 5 | These abrupt changes of style in the Demoiselles are due to the fact that while he was working on it Picasso came into contact with tribal art . |
| 6 | In view of the appearance of certain heads in the Demoiselles , however , it is perhaps permissible to think that his recollections are not completely accurate . |
| 7 | It is in the Demoiselles that these two influences first appear together in the art of Picasso , and it is this that in part makes the picture a natural starting-point for the history of Cubism . |
| 8 | There are several things in the Demoiselles that can not be explained completely either by the influence of Cézanne or of tribal art and which point ahead to one of the most important and revolutionary features of Cubist painting : the combination of various views of a subject in a single image . |
| 9 | Both of these pictures throw retrospective light on some of the problems faced in the Demoiselles ; and although , once again , neither of them is truly Cubist , they are of great significance in the emergence of the style . |
| 10 | Then Braque has capitalized on the element of ambiguity in the Demoiselles ( it is not immediately clear for instance whether the leg of the ‘ demoiselle ’ on the left is the far leg or the near leg , and the lower part of the twisted forearm of the squatting figure is left undefined ) as a means of emphasizing the flatness of the canvas he was working on : the far buttock of the Nu is connected to the foremost leg and heightened in tone so that it appears to stand in front of the nearer part of the figure ; if the outline of the neck were extended it would not join the shoulder naturalistically but pass by its outer edge , and the fact that the outline is deliberately broken allows the neck , shoulder and arm to flow into each other and fuse . |
| 11 | Now his awareness of the new pictorial possibilities which Picasso had instinctively hit upon in the Demoiselles and his study of the work of Cézanne ( whose influence , indeed , can already be sensed in the Baigneuse ) were to make him , within the space of a few months , a major force in twentieth-century painting . |
| 12 | Then , in the Demoiselles , a further step is taken . |