Abstract
Picasso's painting from 1905 through early 1909 reflects a transition from narrative to “iconic” compositional structures, the culmination of which was his conversion of the commedia dell'arte project, Carnaval au bistrot, into the still life, Bread and Fruitdish on a Table. This metamorphosis involved not only formal transpositions but a recasting of the iconography's original symbolism — a banquet allegory showing Picasso seated between other painters — in terms of style alone. The use of multiple styles in a single painting, in order to accomplish purposes formerly achieved by story-telling, originated with Les Demoiselles d'Avignon, which is here newly interpreted.
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