Gender complexity in Picasso’s  Les Demoiselles d’Avignon: The precedent  of the Sleeping Hermaphroditus sculpture

Karen L. Schiff

doi:10.24310/ba.45.2024.16207

Autores/as

Karen L. Schiff Museum of Fine Arts, Houston Estados Unidos

DOI:

https://doi.org/10.24310/ba.45.2024.16207

Palabras clave:

Picasso, Género, Historia del arte, Les Demoiselles d’Avignon, Hermaphroditus, Arte helenístico, Estudios trans, Estudios de intersexo, Género fluido

Resumen

Este ensayo reinterpreta visualmente detalles de las dos figuras centrales en la pintura revolucionaria de Picasso Las Señoritas de Avignon (1907) para proponer que estos cuerpos, usualmente asumidos como femeninos, puedan verse como «género-flexible» y géneroplural. Se muestra tal estrategia como conectado con el interés constante de Picasso por las figuras bidireccionales, según lo analizado por Leo Steinberg. La conexión se explora en profundidad con referencia a la Versión B de la serie Mujeres de Argel. Luego, todo esto se reformula como derivado del precedente de la famosa escultura clásica, Hermafroditus durmiente, que Picasso probablemente vio en el Louvre y en el Prado (en su copia, encargada por Velázquez), y como alusiones en obras por otros artistas.

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