Free Essay About Girl Before A Mirror

Pablo Picasso is the traditional depiction of the mistress looking into the mirror. The X-ray reveals that Picasso originally portrays the body of a young woman with curved hips and her back facing the viewer. The high-quality printing gives this fine art a vivid and sharp appearance. This artwork uses a medium of cover stock to produce the coat with a silken finish to protect the ink and create an elegant look. This versatile art strikes a balance between value and quality. The cubism style of artwork is an important contribution in the development of art in the modern culture in this century. Picasso demonstrates uncanny artistic talent by painting in a realistic manner. Picasso’s artwork of “Girl before a Mirror” depicts a young woman who surveys herself in the oval mirror. This artwork applies many visual elements of art and the principles of organization. This paper seeks to establish color, rhythm and repetition, texture, shape and line visual elements of art.
The Girl before a Mirror has a vertical orientation and her reflection occupies the entire canvas. The painting is not a miniature since it has a portrayal larger than life size. The scale of the painting represents a powerful impression in reality. Some of the Principles of Organization depicted by the image include balance. The design of Girl before a Mirror uses symmetrical balance with the woman on the left and the mirror on her right. The left post of the mirror is close to the vertical axis and divides the composition into two. The symmetry in the design attracts people’s attention as one compares the two sides. One can see that the reflection of the girl’s face in the mirror is not her true self. Warm colors reflect as cool colors and the firm shape becomes fluid. The transformation of the death head evokes mysterious a shadow of uncertainty. This composition can easily break apart. Picasso uses different means to tie the two images together. The girl’s gesture links the girl and the reflection on the far edge of the mirror. Picasso reinforces the embrace with a red-stripe shape beginning at the chest and extends to the fingertips. The gesture and the shape set a pendulum motion to enhance rhythm from one side to another. The unity of the composition relies on rhythmical curves while the repeating circle of the girl and the reflection culminate the great oval of the mirror itself. The lush painting of the wallpaper extends across the entire canvas. The diagonal geometric grid behaves like a foil to sweep the organic curves of the girl. Color unifies the composition properly by varying bright colors since they fall in the same range of intensity and value. Picasso places an emphasis on the face since it is a natural focal point. Picasso emphasizes the face by painting one side bright yellow and surrounds the head with oval and white green to isolate the busy pattern of the background. It provides enough visual to balance the form in the mirror. Picasso modifies the proportion of the facial features to occupy the whole space of the head. Picasso uses yellow color for the hair, a circular half-yellow face, and white aura. The girl resembles the sun as a source of light. The pale violet portion of the face has a gaze at the mirror. She has yellow portions of pale colors that set off by black shapes with lines to emphasise her vertical body. The left portion of the body has striped garments.
Picasso uses a strong emphasis on the formations of the outline to distinguish the girl and the reflection. Picasso uses thick and thin parallel, curved, and vertical lines. The purpose of the black line formations is to maintain balance and order. The frontal part of the face uses thick black curvilinear lines to alter the feminine features to auger well with the diamond pattern wallpaper. Picasso uses the same curved, thick black vertical lines to twist the girl’s body and present her with a thick black horizontal profile. Picasso outlines the face with profile side with thin vertical lines. Picasso uses clearly defined profile and frontal figure to balance the reflection and agitate the line segments that fail to maintain order. The thick vertical lines on the face have short marking to depict a large nose. The mistress color of the face has chalky lilac tones while replacing the eye almond shape with a maroon circle. Picasso uses rhythm and repetition to design the cheek and the upper portions of the nose. The cheek of the face appears like an orange sickle while the nose has a jarring carmine shade of red. Picasso uses severe lingering connection to observe reality and bring the mistress into the shape-shifting world. Picasso uses shapes of triangles, rectangles, and circles to make frontal and back views. It makes the face appear fearsome since it resembles a ghost like character.
Picasso uses two halves of a woman to complement each other the profile and the frontal figure. The presence of light on one side suggests the daytime and the makeup on a woman are clear. The other side has a rough Picasso uses heavy parallel lines than run across the body. The body has a light green color with red, charcoal texture to portray the woman at night. The woman is vulnerable with her makeup since she appears as a young woman. The green discoloration on the mistress’s forehead darkens her facial features since they have distortions on the curvilinear and a black frontal section. The ribs of the mistress show a transparent flesh to appear as a stripped bathing suit. The vertical partition of the image has curvilinear lines on the chest to suggest vanity. The young mistress has white-haloed profile that appears serene in the use of smooth lavender, pink color. A frontal view of the face resembles a crescent as figure of the moon. The face has an intense yellow color of the sun with rouge lipstick and green eye shadow. This painting depicts tranquility and vitality of the mistress as the woman makes a transition from an innocent girl to a worldly woman. The reflection on the mirror depicts the mistress's fate by use of a dark face, round, and hollow eyes. The reflection depicts the feminine body as twisted and disfigured. It is because she seems much older in the reflection than her true self-does. The frontal view shows a young woman while the reflection shows her in the future. The reflection of the mirror depicts an aged body that leads to the woman to have anxiety.
The woman’s face has different symbols on the side profile and full frontal image. The light-sided part depicts daytime when the woman’s makeup is visible to suggest her elegance. The dark-sided part has a rough texture of charcoal to depict the time during the night. The body shows many distortions and gravity taking its rightful place. The woman remains self-conscious since she sees all the flaws that the world does not.This extraordinary works of Pablo in this traditional theme of a mistress reinvents the radical modern times. The portrait uses profound transformative presence to depict art and life since it is not a conventional portrait with dazzling jewel-like colors, with bold, contoured shapes, and surface patterns to transform the young woman to a shadowy reflection that is captivating and strange. Picasso uses backgrounds that appear in the backdrop so as to assist the main subject. Picasso includes the painting to make it intense on the focal point of the image.
This picture serves as a portrait of a cybernetic approach of art history. It is a portrayal of how people perceive themselves against the perception of others. It serves as a duality of nature where one can use many levels to spur creativity and critical thinking. The Girl before a mirror remains a journey into the subconscious reality that remains elusive amidst significant historical research and comments from the modern artists. Picasso does not have a checklist as he works to add the visual elements in accurate proportions to create unity, balance, proportion, scale, and rhythm. The evidence of the numerous reworking in the complete painting denotes a change of mind to make an adjustment in the artwork.