Pablo Picasso Symbolism

Unraveling the Mystique behind her portraits Through her diverse and intricate representation of the female body, Valadon’s masterpieces expressed complexity, vivid narratives and the aspirations of her love life. Her paintings did not just oppose the typical depiction of female nude, but also contained grand allegory and potent symbolism. One can argue that most successful artists such as Pablo Picasso and Henri Lautrec utilize grand allegory and potent symbolism. However, what truly sets her apart from the rest is her background. Information and books were scarce and valuable commodities in that period. Knowledge was not as easy and accessible as it is today. Gaining access to these valuable resources was already a daunting task in itself,

In this painting, four women are seen executing various poses while a man glances at them. At first, it seems to be a mere depiction of women competing for the attention of the male spectator. However, it also seems analogous to a famous Greek story known as the “Judgement of Paris.” In the mythical story “Judgement of Paris”, a banquet was being celebrated by the Greek Gods until an uninvited guest, Eris, suddenly appeared. Eris was infuriated that she did not receive an invitation to the banquet. He threw a golden apple in the crowd. The golden apple had an inscription “For the Fairest one”. Three Goddesses clutched the apple: Hera, Athena, and Aphrodite. They asked Zeus to settle the dispute by choosing which one of them was the fairest one. Zeus declared that Paris, a Trojan warrior, would be the one to resolve the argument. The three Goddesses and Paris went to the spring of Ida for the competition. Going back to the painting of Suzanne Valadon, it does seem to mirror the mythological event. The women bathed in a spring. They were displaying various erotic poses in hopes of seducing the male spectator. Indeed, the male spectator looked like a judge. “He stands apart from the nudes, at ease, arms crossed, in control, and he seems to stare at the figures. His dominating stance, the exaggerated wiriness of his musculature, and his concealed genitals keep his body from becoming sexually objectified “(Lloyd, 2000). This painting is also a rare occurrence where Valadon addresses the male gaze head on. Valadon’s “Joy of Living” is a thought-provoking spectacle. Its simple structure is elevated by its elaborate symbolism that stretches the deep corners of the human