Chave, Anna C., “New encounters with Les Demoiselles d’Avignon: Gender, race, and the Origins of Cubism,” The Art Bulletin, Vol. 76, No. 4 (Dec 1994), pp. 596-611.
- Which critics and artists does Chave cite in her historiography? How does the author read the “reception history” of Les Demoiselles that is outlined in the introduction of the article? What is the author’s objective? (pp. 597-598)
- What does the author mean by saying that Picasso’s representation of masks is an act of “mimicry” and “minstrelsy”? (p. 599)
- How does the author read the demoiselles in African masks differently from other critics? Why does Chave dispute the notion that the unmasked faces of the three figures on the left side of the picture are not “syphilitic monsters”? (p. 599)
- How does Chave describe the “prototypical” male response to Picasso’s picture? What psychological basis does the author provide to bolster the argument? (pp. 599-600)
- How does the author characterize Walter Benjamin’s observation of modern life within the framework of a socio-economic interpretation? (p. 600)
- How does Chave account for the fact that, unlike Manet’s Olympia, Picasso’s Les Demoiselles seemed less suited for public display? How does the author continue this train of thought concerning matters of class and race? (pp. 600-601)
- How does the author’s feminist methodology analyze “Cubist space” in gendered terms? (pp. 602-604)
- How does Chave explain the flattening of pictorial space differently from Clement Greenberg and T. J. Clark? (p. 604)
- How does Steinberg frame the experience of viewing Picasso’s Les Demoiselles? Alternatively, how does Bois explain the production of the painting? What conclusion does Chave draw from Bois’ interpration? (pp. 604-605)
- According to Chave, who was Picasso’s “declared” enemy and his “undeclared” enemy? As such, how does the author interpret the shallow space of the Cubist canvas? (pp. 605-606)
- How can Picasso’s Les Demoiselles be interpreted through a colonialist discourse? According to Chave, how does Picasso’s vision of the “other” differ from Mattise? (p. 607)
- How does Chave characterize the crouching figure in the lower right quadrant? (p. 608)
- On what basis has scholarship suggested that the figures in African masks symbolize femme fatales? (p. 608)
- According to Chave, in the aftermath of Les Demoiselles, what accounts for Cubism’s retreat from the “raw nudity” and African elements? (p. 609)
- Why does Chave agree with Felix Fénéon’s account of Les Demoiselles that it contains elements of caricature? (p. 610)
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