Impact
Although Les Demoiselles had an enormous and profound influence on modern art, its impact was not immediate, and the painting stayed in Picasso's studio for many years. At first, only Picasso's intimate circle of artists, dealers, collectors and friends were aware of the work. While many were shocked and some outraged, influential people such as Georges Braque and Daniel-Henry Kahnweiler were supportive. Soon after the late summer of 1907, Picasso and his long-time lover Fernande Olivier (1881–1966) had a parting of the ways. The re-painting of the two heads on the far right of Les Demoiselles fueled speculation that it was an indication of the split between Picasso and Olivier. Although they later reunited for a period, the relationship ended in 1912.
Les Demoiselles would not be exhibited until 1916, and not widely recognized as a revolutionary achievement until the early 1920s, when André Breton (1896–1966) published the work. Richardson goes on to say that Henri Matisse was fighting mad upon seeing the Demoiselles at Picasso's studio. He let it be known that he regarded the painting as an attempt to ridicule the modern movement; he was outraged to find his sensational Blue Nude, not to speak of Bonheur de vivre, overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy. Just as the Bonheur de vivre had fueled Picasso's competitiveness, Les Demoiselles now fueled Matisse's.
Among Picasso's closed circle of friends and colleagues there was a mixture of opinions about Les Demoiselles. Georges Braque and André Derain were both initially troubled by it although they were supportive of Picasso. According to William Rubin, two of Picasso's friends, the art critic André Salmon and the painter Ardengo Soffici (1879–1964), were enthusiastic about it while Guillaume Apollinaire (1880–1918) wasn't. Both the art dealer-collector Wilhelm Uhde (1874–1947), and art dealer Daniel-Henry Kahnweiler were more enthusiastic about the painting however. In July 1916, Les Demoiselles was exhibited to the public for the first time when it was included in the Salon d'Antin an exhibition organized by André Salmon. Picasso referred to the painting as his Brothel painting calling it Le Bordel d'Avignon but André Salmon retitled it Les Demoiselles d'Avignon so as to lessen its scandalous impact on the public. Picasso never liked the title, however, preferring "las chicas de Avignon," but Salmon's title stuck.
Read more about this topic: Les Demoiselles D'Avignon
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