Appropriation and Important Postmodern Strategy

Appropriation and Important Postmodern Strategy Important shifts in visual strategies in the arts mark the historic cross-over from the Modern to the postmodern paradigm. While this holds equally true in music and literature, it is the evolution of such strategies in the visual arts that this essay concentrates on. While such demarcation cannot be pinned down to a specific year or date, it is possible to convincingly chart this shift via an examination of the working strategies of three important painters: Americans Andy Warhol and David Salle, and Australias Imants Tillers. Postmodern art, by definition, rejects strict genre confines and, unlike modern art, celebrates the mixing of forms and ideas. As a result of this rejection, postmodernism advertises the use of irony, parody, satire, humour and collage. The use of appropriation in art is a useful strategy for commenting on or criticising aspects of life by recontextualising an image or object of already determined meaning. Giving new meaning to, or building upon the meaning of, an existing idea by redefining its context is an effective tool that alters or interferes with the viewers original association with an object or idea. This being immediately recognisable as a postmodern approach due to its embrace of contradiction, diversity and the unconventional. This is important as the message translates easily, giving meaning to a modern day audience. David Salles Tragedy, 1995, is a diptych. The right-hand panel is performed in grisaille, a technique predominantly used to render figures from one base colour or monotones, greatly accentuating the mood. In this panel are two figures, a smirking female, obliquely behind the main male figure who sits with hands on knees with the face distorted into a grotesque parody of despair. The left panels apparent pastiche is backgrounded by what appears to be a domestic scene derived from a 1950s advertisement, possibly a direct reference to Richard Hamiltons landmark artwork Just what is it that makes todays homes so different, so appealing? (1956), a work widely considered as a seminal precursor to Pop art. There is also a possible death motif in reference to the Cold War and the anxiety of the Atomic age of the post-WW2 West. In the centre is a black and white photograph of a bomb blast, surrounded by lemons, with a black glove at the top right corner. The explosion could also be representational of death, as well as the black glove being a traditional mourning trope, these funerary motifs all relating back to the tragic tone of the artwork, and the mans expression. Salles work is more about juxtaposition which he uses as a strategy to destabilise the ways in which we traditionally see, and at the same time reconfigure traditional visual narrative. He leans heavily on a simple strategy of montaging images of the banal and everyday. The effect is jarring and visually disturbing. In this, we can see his indebtedness to the better aspects of Pop like Warhol and James Rosenquist. Salle also created another diptych work entitled Comedy (1995) using the same layout, but mirrored with opposite facial expressions on the figures; as the man with an exaggerated frown in Tragedy now smiles in Comedy. The left panel of Comedy is also rendered in grisaille. In the right panel, an advertisement for a bedroom suite is set on its side and like the artists early works is collaged with additional imagery: a black and white photograph of a headless female fashion mannequin, enclosed by a garland of butterflies, and below a theatrically ruffled harlequin collar.   The paired titles may refer directly to Salles set and costume designs for ballet and theatre, as well as his endeavour into directing the 1995 feature film Search and Destroy. The tropes of the frilled glove and harlequin collar in Salles work of the early nineties hints to his involvement with the performing arts. A cinematic feel can also be identified in Salles juxtapositions of scenes that conjure a cinematic impression in which components are arranged to produce an alternative meaning that is not, indeed cannot, be seen in the singular images alone. The fact that the images of the man in the foreground are reversed when comparing Comedy and Tragedy also gives the viewer an ironic configuration of the Janus, the tragic and comic faces are referenced, via each other, into a singular idea. The God Janus was the protector of gates and doors, beginnings and endings and dates to Roman times. But beyond the traditional trope of the Janus, is the fact that he is two-faced. It may be of some interest to note that, before making it big as an artist Salle worked for a short time in the late 1970s as a paste-up artist for  Stag magazine, a pornographic publication. It is interesting to note that highly sexualised and fetish images making a regular appearance in his works of the 1980s. In  Tragedy  the main figure is haloed by a biomorphic shape, at once visceral and phallic. If this motif is indeed phallic, along with the bomb blast possibly symbolising a premature explosion, Tragedy may well portray a failure of male potency. Taking this reading,  Comedy must surely read as the opposite: the main male figure beams, proud and confident as opposite a bio-morphically enclosed female mannequin in a flowing gown stands without a head. The fact the female mannequin is headless is also interesting, being without identity, the female strictly objectified. The porn aesthetic is genuinely interesting though. While porn does not read compositionally the same as any other figurative traditions, porns narratives run to succinct, highly predictable paradigms. Pasting-up, now a dead skill as all such work is now done on a computer, was physically very much like a collage. Pasting-up is a compositional exercise where images and/or text are literally separate physical items pasted into position on a board for photo reproduction prior to final printing. So we could argue that some of Salles visual sensibility the recurring figures and images, the outlines of figures and objects cast over earlier images and grounds could have derived from his work for a porn publication. Salle was raised on the mythology of the Abstract Expressionists. Accordingly, the scale of his work is New York School-size; his 1995 diptych Tragedy is over 3.5 metres in length. Salle also defers to the Abstract Expressionist myth of all-over composition, the famous domain of Jackson Pollock. But rather than the frenetic, energetic marks of Pollocks famous Poured Period, Salle crams his canvasses full of eclectic figures and objects, often dissimilar and jarring, often seemingly disconnected and layered. It is an ironic homage to the macho painters of the New York School. Salle is widely considered one of the early blatantly postmodern painters by virtue of his subversion of the recognisable, and by distorting the familiar via awkward juxtapositions and unlikely compositional decisions. He drew from such widely artistic traditions as Minimalism, Abstract Expressionism, Pop Art, Realism and Cubism as well as images from popular culture. Although much of his work seems highly symbolic, Salles paintings seem not to contain a specific message, but rather leave space for the viewer to interact, to read into, the work. It is this interaction that brings the work to meaningful completion. This active engagement of the viewer is also a prime postmodern strategy. Imant Tillers use of quotation and appropriation has seen him classified as one of the early postmodern painters. His approach has a clearly personal element, despite appropriating imagery from both unknown and famous artists alike. Tillers 1985 work The Nine Shots is a an abstract figure who appears to be laying sprawled on his back, with nine target shapes all about him. Instantly, one can see the direct influence of Indigenous art influence on this piece. Tillers notably recontextualises the circular Indigenous motif for camp site or resting place to represent bullet holes. The main Aboriginal image Tillers has appropriated in The Nine Shots was Michael Nelson Tjagamarras Five dreamings, 1982. This appropriation lead to some considerable controversy, with allegations that appropriating Aboriginal imagery without permission impinged upon the moral privileges of the artist. The offence being exacerbated by the indissolubility of Aboriginal art from its environment. Tillers seemingly questioned identity established by and arising from locality by displaying appropriated cultural imagery with other images from different contexts. Over the next decade Tillers relationship with aboriginal art developed, even to the point of gaining a personal friendship with Tjagamarra whose work he incorporated without permission, the two even collaborating together in Nature Speaks: Y (Possum Dreaming) in 2001 using Aboriginal Walibri motifs. Walibri icons subsequently appearing as common elements in Tillers later work as a result. Tillers appropriation of aboriginal signs seems now to be more an appreciation of their artistic power. Although there has been no change in Tillers practice of appropriating Aboriginal art in his own work without permission, it could be deduced that the moral dilemma surrounding the re-using of sacred Aboriginal artworks has become less controversial, its treatment becoming more alike non-aboriginal art. While appropriating, building upon, borrowing from and being influenced by others art is now a mainstay of postmodern art, it is never going to be without hazard as art is not confined to particular types of objects. Aboriginal art it is a device of selfdom, a title deed to the land, a cypher of ancestral presence. It is the situation that Aboriginal law reserves rights to produce these sacred works to a limited group of artists and the infraction of these rights in the unauthorised borrowing of such art can be seen as a type of sacrilege that affects the foundation of the artists society. While widely recognised as the chief proponent of the Pop idiom, specific early works by Andy Warhol can retrospectively demonstrate the decline of the Modernist period. Warhols rejection of the machismo of the New York School is a classic Oedipal strategy. The best of the Abstract Expressionists had traded heavily on the supposed Jungian content of their work, whereby meaning was derived from the actual physical laying down of paint on canvas. Most notable of these, of course, was Jackson Pollock who was on the record in interview touting his Jungian pedigree. By implication also, this Jungian ideal cashed out on the implicit value of originality. To witness the extent to which adoration of the authentic mark of the artist extended, one only need examine the huge, stark calligraphic works of Franz Klein. But Warhol was notable in his total rejection of these ideas. His foppish, effeminate persona stood starkly at odds with the Abstract Expressionists who, we must remember, were still practising in the years of Warhols emergence in the early 1960s. In place of the Abstract Expressionists tortured surfaces were Warhols radically underworked monochrome renditions of newspaper advertisements and newspaper headlines as in  $199 Television, 1961. Warhols Campbells soup can, along with images of CocaCola bottles and Marilyn Monroe became the Pop Art movements representing motifs. The soup can being a satirical comment on Americas consumerism. By using the familiar image of Marilyn Monroes face he has turned it purely into an icon of pop culture, and no longer a person with depth and character. Her depiction is now just a shallow symbol of fame and beauty. Warhols signature use of the silkscreen completed his rejection of the New York style of painting of the late 1940s and 1950s. The silkscreen stood as a reproducible artwork, and the mechanic nature of this production put the artists hand at one remove from the finished product, especially given Warhol employed assistants to make the actual work while he stood as supervisor, and oversaw production.   In 1964 Warhol was one of ten artists commissioned to produce work for the World Trade Fair to be held in New York. Warhols contribution, Most Wanted Men, 1964 featured silkscreen portraits taken from FBI mugshots. This mural-sized work was installed on the outside wall of the Circarama, a one hundred foot circular cinema in which a 360-degree view of New York was projected. Within days of its installation, however, the Circaramas architect, Philip Johnson, had asked Warhol to remove Most Wanted Men, saying the New York State governor thought it would offend the many Italians among his constituents, given all the men depicted were Italian. Given twenty-four hours to replace or remove the work, Warhol had his assistants scale ladders and cover the portraits with industrial silver paint. The strategy is intriguing. Beginning with the idea of appropriating photographs, photo-silkscreening them to find the appropriate scale, and then, after the order that it be removed, Warhol chooses not to replace the work, but complete it with the metaphoric mirroring of the silver paint-out of the original image.   In real terms then, the interference or censoring offered by the Trade Fair organisers and associated politicians, did not necessarily result in a failure of this work. In the same way that many postmodern artists position their viewers to interact with a work in order to complete it, or find meaning, so Warhol played with the critical interference he was offered in a way that served the work and, perhaps more importantly, appended Most Wanted Men with a complex narrative that sited the artist as the  enfant terrible or provocateur who, in completing the work with a crude, industrial silver skin, metaphorically throws an unacknowledged and (given the ambiguity of its title, homoerotic) Narcissistic impulse back in the faces of the authorities. So whether the artists intent is purely representing a personal side of themselves to an audience, or to provoke controversy and questioning from the public, the use of appropriation is a useful strategy of postmodernity as it requires the participation of audience thought to make a work complete. This would seem very unconventional to Modern art, but thats what makes appropriation or recontextualization such a powerful postmodern tool. Salles personal love of the theatrical, Tillers questioning of sacred aboriginal art or Warhols parodic use of popular and commercial products; As can be seen from these well known artists and artworks of the postmodern era, building upon or giving new meaning to an image or object is a very efficient way of producing art with a message behind it.

The fellowship of the ring :: essays research papers

The Lord of the Rings: The Fellowship of the Ring The Lord of the Rings: The Fellowship of the Ring, by J.R.R. Tolkien, is the first book in the fantasy-based trilogy of the Lord of the Rings. The book begins with Bilbo Baggins celebrating his one hundred and eleventh birthday. After his party, he then decides to leave everything behind and join a Fellowship, which has a task of destroying the ruling ring, which will give supreme power to whoever has possession of it. Just before he leaves, Gandalf asks Bilbo for this ring. Due to the power in which the ring possesses while it is in his possession, he does not want to give it up. The novel ends with the destruction of the Fellowship due to the power in which the ring contains. One of the prime facts of the Middle Earth is power. Power is not neutral, but is always evil. It gives wicked the chance to dominate. The good is corrupting and inescapable. This is shown repeatedly throughout the novel, from when Bilbo gives up the ring, to when Boromir tries to take the ring, and finally, t o seeing the control that the ring has over Frodo. One incident in the book, which corresponds with how power is evil, would be when Bilbo had to give up the Ring. The ring is very powerful. The power is so enticing that Bilbo is very weary to give up that ring. When Gandalf asks Bilbo if he wishes to give up the ring, Bilbo seems unsure saying yes and no. When it came to having to give it up he didn't like parting with it at all and didn't see why he should have to . Due to the power in which Bilbo feels that the ring had given him, he doesn't want to part with it. By no means does Bilbo want to use the power in an evil manner to dominate all. It is just the thought of power itself that causes this greed to come over him. Although Bilbo in general is a good character, the power of ring corrupts his ways, showing his thirst for power, which he deserves. Another incident, which portrays this corruption of goodness to evil, is when Boromir approaches Frodo and tries to take the ring f rom him. Boromir has authority, which is being heir to the throne of Gondor, but not the supreme power that he desires.

Understanding Organisations and the Role of Hr

1. Introduction The briefing note is aimed to support a new manager to gain some understanding of the organisation in preparation for their start. Enterprise is a private sector organisation that has a current turnover of ? 1. 1bn. Enterprise currently employ’s circa 17,000 people including direct and DSP staff. 1. 1 Enterprise is the UK’s largest dedicated maintenance and front-line service provider to the public sector and utility industry. 2. Company Analysis 2. 1 Enterprise offers a wide range of services to its customers.The business is split into two divisions, one of which is the Government division. The Government division offers nationwide coverage in the following work streams: Grounds Maintenance, street cleansing, refuse collection, social housing, asbestos surveys & removal, building repairs & maintenance and local roads. The Government division is involved in a joint venture with Amymouchel. The second major division is the Utilities division. The Utilitie s division is broken down further into sub divisions which are, defence, MOD, gas, water and power.The main role of the Utilities division as a whole is to perform maintenance tasks including fixing water leaks, repairing gas leaks, installing Utility supplies, designing and installing power substations and repairing broken connections. The Utilities -division is also involved in joint ventures with Carillion and MoDern Housing solutions. Enterprise also has a Central Support division that contains dedicated departments who provide support services to the group. The departments within the central support include Finance, I. T, Payroll, Central HR, Health & Safety, Commercial, Procurement and Marketing. See Appendices 1. ) 2. 2 Due to the fact that Enterprise provides such a diversity of services the customers are both from the Public and Private sector. Enterprise has long term partnerships with Local and Central Government. An example of this would be a 28 year ‘waste partner ship’ with Solihull Borough Council. Other Local Government organisations that Enterprise perceives as customers currently include London Borough of Barking and Dagenham, Liverpool City Council, Wolverhampton City Council, Manchester City Council, Gloucestershire City Council and Peterborough City Council.Central Government customers include MOD Defence Estates, Highways Agency and Transport for London. Enterprise works closely with Utilities companies to provide people’s homes and business with reliable gas, power, and water and communication links daily and has major contracts and partnerships with the following customers: United Utilities, Severn Trent Water, Scottish Power e-on Energy and National Grid. As the majority of Enterprise operations are carried out within the community they have a high emphasise on Corporate Responsibility in order to engage the wider community. . 3 Enterprise has a unique approach in terms of its purpose and goals. The main purpose of t he organisation is captured within the mission statement which is; ‘’To be at the heart of our customers and communities; delivering plans to improve service and maintain essential infrastructure for present and future generations in an environment that allows our people to contribute and realise their full potential’’. Enterprise as a Private organisation has a purpose of providing a financial return to its Stakeholders as well as surviving and developing if possible.Enterprise has a set of driving principles that define the goals that work towards delivering the Enterprise vision which is; ‘’In our chosen markets of utilities and the public sector, to be the leading integrated service provider focused on front line delivery. ’’ The 5 driving principles are as follows: Health & Safety: As Enterprise work at the centre of people’s lives and neighbourhood’s Health & Safety of both employees and members of the public is paramount. This means that the policies are rigorous, thorough and proven.Community Cohesion and Well Being: Responsibility in the community that Enterprise works in, the companies it works with and the employees. Sustainable communities that balance the social, economic and environmental components of their local area. This will benefit the residents, businesses and future generations. Partnership & People: Enterprise’s preferred method of working with a customer is through a transparent partnership. This facilitates communication and enables better working relationships.The flexible pro active nature of these partnerships allows contracts to evolve and move with the changing nature of the industry and customers need in the opinion of Enterprise. Enterprise follows a ‘respecting people’ agenda which allows employees to influence service delivery. They continually invest in skills and technical knowledge in order to remain an innovative leading service provide r. Performance Improvement & Best Value: The experience and knowledge Enterprise has of its markets, combined with their least cost operating models, enable them to design services that produce improved performance and best value for customers.Technology and Innovation: Enterprise has innovative technology and bespoke software that designed by an in house team. This increases the efficiency of operation and improves communications between sites, offices and customers. IT is at the core of all operations and a least cost, improved performance is essential to ensure a safe workplace. 2. 4 Enterprise believes that external factors do have an impact on the business activities of the organisation. Please see (Appendices 2. ) which is a PESTLE analysis of Enterprise.Listed below are four examples of external factors that Enterprise will be directly affected by, Auto Enrolment This is the Government initiative that Enterprise considers as a political external influence. Auto enrolment is a imed at getting employees enrolled into a pension scheme. Enterprise as a large business has to do this by April 2013. Employees are automatically enrolled into the scheme with the option to ‘opt out’. The minimum contribution of the employees is 1% of their salary with a contribution from the employer. The impact on Enterprise is financial due to the contribution to the pension scheme.The fact that all employees need to be communicated with and engaged with the scheme is a drain on cost and time. Enterprise has had to employee a number of temporary staff who specialise in pensions to guide and work on the impact of the scheme. This again is a financial strain on the organisation. Rising Fuel Costs Enterprise have identified the increasing rise in fuel costs as a potential threat to the business. Enterprise has reacted to this by introducing a ‘Lower initiative. ’ All new starters to the business are given information on ways to save fuel, for example car s haring.As many of the operations within Enterprise involve vehicles and plant reducing fuel consumption is extremely important. Graduates Enterprise has always had a graduate scheme and recruits every year. Due to the both social and political impacts the number of graduates per year is decreasing, increased university cost sand high rates of unemployment are the main contributors for this. This is impacting on the business in terms of reduced Graduate vacancies and fewer specialist candidates. Enterprise view graduates as the future and look to talent manage graduates into certain arrears of the business.They are also seen as ideal candidates whilst ‘succession planning. ’ A positive impact of the above is that apprentice schemes have become a popular alternative within the UK and Enterprise has over 130 active apprentices. This is a 50% increase on 2010 figures. Adverse Weather Over the last few of years the weather has changed significantly which has had an effect on Enterprise. It has impacted the business in both a positive and negative way. For example due to the cold weather in the winter the need for winter grit to be laid on the road has increased, this means business for Enterprise in this area has been amplified.On the opposite side of the coin, during wet summers work on the roads for example laying new cables and surfacing dressing can be a slow process. Enterprise perceives this as an external Environmental factor that is difficult to manage. 2. 5 Enterprise operates a ‘conventional’ hierarchical organisational structure predominantly but has aspects of ‘span of control structure’ also. This is mainly due to the size of the organisation and the variety of services it offers. As Enterprise is split into two major divisions with sub sections within these departments it is difficult to put the overall organisational chart into context.Enterprise does have aspects of a ‘Matrix’ organisation. This is dependent on projects that need to be undertaken or new contracts that are won. Enterprise has to be flexible to endorse this kind of structure and have the resources to cover staff movement. Please see (Appendices 2. ). Enterprise produces quarterly organisational charts to track any movements that take place and analyse where people slot in to the business. Appendices 2, illustrates the structure of the finance department for Enterprise which is a relatively tall conventional structure and is built up via a number of levels.Within the finance department there are several different functions including, financial accountants, purchase to pay, sales ledger, payroll and treasury. This chart highlights the positions of all the employees that make up each function and how they are all interlinked to make the finance department as a whole. It also confirms the spans of control of Managers and supervisors. 2. 6 As described in 2. 5 the Finance department in Enterprise has several differe nt functions. An explanation of how these functions work together ould be as follows; The monthly payroll team pulls together the payroll 3 days before the money is due too reach the employee’s accounts. This has to be signed by the Support Services manager. Once this has been signed payroll process, this is then with the treasury department to allocate the monies into the accounts of the employees in time for pay day 3 days later. After this the accountants are left to analyse the payments for each department of the business and raise any queries they may have. 2. 7 The culture of Enterprise is outlined in the mission statement and within its 5 driving principles (see 2. ). Enterprise also has a strict set of values that it expects all of its employees to follow: * Integrity – Transparency, relationship, fair, equitable and professional * Practicality – Straightforward, productive, innovative and pragmatic * Achievement – Focussed, driven, clear, ambitio n and success * Collaborative – Flexible, positive, incentivised, developing, community and team * Responsiveness – Listen, engage, create and participate The culture of Enterprise does have an affect on operations. Examples below: 1.Due to Enterprises commitment to its vision, principles and values, Enterprise can offer responsive efficient services provided by dedicated individuals 2. Enterprise works within the community promoting local employment and engagement with the use of small and medium enterprises (SME’s) through the Enterprise Foundation which is a vehicle dedicated to delivering community related support and improvement projects. This is a key part of the CR agenda. 2. 8 Enterprise has a dedicated central HR function that supports the organisations strategy in many ways.Please see below three examples of this: Learning & Development Enterprise encourages employees to undertake training courses to improve personal development. HR will research parti cular courses to make sure they are relevant to the employee’s role and report back to the budget holders with the findings. PDR Workshops Enterprises HR team offers managers the opportunity to attend workshops to make sure they carry out PDR’s efficiently (personal development reviews. ) For example it is explained that the PDR’s are linked to talent management which looks at developing Enterprise’s current employees linking back to the business strategy.Induction Corporate inductions are delivered by the HR department to all new starters. This is seen as essential to emphasise to all employee’s the vision, goals and strategy of the business as well as making new employee’s welcome and provides key statutory information. 2. 9 The HR function at Enterprise is always on hand to provide support to line mangers and their staff. Here are three ways in which they achieve this: * Updating policies and procedures in accordance with legislative chan ges and with the business needs.Making sure these are easily accessible for line managers and their employee’s to access. * Through knowledge and experience HR professionals within Enterprise provide managers with support on disciplinary issues. Making sure that the correct process is followed to avoid tribunal cases. * HR systems are an integral part of Enterprise as all office based staff use them. The HR team control these systems and provide data from them to support manager’s needs. 3. Conclusion This briefing document is aimed at familiarising a new manager with the services, structure and systems of Enterprise.It has shown that Enterprise is a large maintenance and front line service provider within the public sector and utilities industry employing circa 17,000 staff in the UK. The structure is a mixture of conventional, hierarchical and matrix. The services include all aspect of utilities including repairs of gas, water, power and electricity and public servic es including building maintenance and refuse collecting. HR supports the business by being a point of contact for managers and employees on any issues they have. This works towards Enterprise achieve it overall strategy and goals.

Biography of Eva Gouel, Pablo Picassos Mistress

Eva Goeul (1885–December 14, 1915) was Pablo Picassos lover during his Cubist collage period in the early 1910s, one of several influential and romantic partners in Picassos life. She inspired a few of his most famous pieces of art, including Woman with a Guitar, which is also known as Ma Jolie (1912). Fast Facts: Eva Gouel Known For: Muse and mistress of Pablo Picasso, 1911–1915Born: 1885 in Vincennes, FranceParents: Adrian Gouel and Marie-Louise Ghà ©rouzeDied: December 14, 1915 in ParisEducation: unknownSpouse: noneChildren: none Early Life Eva Gouel was born Eve Gouel  sometime in 1885 to Adrian Gouel and Marie-Louise Ghà ©rouze of Vincennes, France. At some point, she adopted the name Marcelle Humbert and claimed to have been married to a fellow named Humbert, but that doesnt seem to have been the case. Like most of the women Picasso met at this time—indeed, like many people in the late Belle Epoque (1871–1914) of Paris—Eva kept her background purposefully mysterious, going by different names that came from various sources. In the correspondence of Picassos friends at the time of their alliance, Eva was considered both sweet and calculating, described as a small spicy girl who looked like a Chinese doll by Italian painter Gino Severini (1893–1966). Meeting Picasso Picasso met Gouel in 1911 at the cafe Ermitage in Paris, when she was going by the name of Marcelle Humbert. She was living with the Jewish-Polish artist Lodwicz Casimir Ladislas Markus (1870–1941), a satirist and minor Cubist better known as Louis Marcoussis. At the time, Picasso had been living with his first muse, Fernande Olivier, since 1904. He was diligently absorbed in studies developing Cubism with painter Georges Braque, and Fernande was hotly jealous of that absorption. Fernande and Picasso often went to the Paris cafes with Marcelle and Louis. On a number of occasions, they were all invited to the home of writer Gertrude Stein on the rue de Fleurus, a popular place for artists and writers in Paris at the time. Stein and Picasso were close friends, but she and her longtime partner Alice B. Toklas didnt spot the relationship between Picasso and Gouel until February 1912. Fernande and Marcelle became fast friends: Fernande confided her miseries to Marcelle, including her unhappiness with Picasso. In 1911, Fernande began an affair with the young Italian Futurist Ubaldo Oppi (1889–1942). She asked Marcelle to cover for her in order to deceive Picasso, but it was a mistake. Instead, Marcelle began a clandestine affair with Picasso herself. Picassos Eve Picasso began his affair with Marcelle—now going by Eva Gouel at Picassos request—in late 1911. He began adding coded messages into his works, using allegorical imagery like bowls of peaches (thats Eva) and jugs with large spouts (thats Pablo). He also added written phrases like Jaime Eva (I love Eva) and Ma Jolie (My pretty one) as elements of the paintings. The famous Woman with a Guitar, the artists first work in Analytical Cubism, painted between 1911 and 1912, contains Ma Jolie, a nickname he gave to Eva after a popular song at the time. Picasso asked Marcelle Humbert to return to a version of her birth name, in part because he wanted to distinguish this mistress from the wife of his friend and fellow Cubist George Braque, also named Marcelle. He transformed Eve into the more Spanish-sounding Eva, and, to Picassos mind, he was the Adam to her Eve. Fernande On May 18, 1912, Picasso told Fernande that he had discovered her affair with Oppi and was leaving her for Eva. He moved out of her apartment, fired the maid, and pulled his financial support of her; Eva moved out of her flat with Louis Marcoussis, and the new pair left Paris for Cà ©ret in southern France. In June 1912, Picasso wrote to his friend and art collector Daniel-Henry Kahnweiler, I love [Eva] very much and I will write this in my paintings. Horrified, Fernande left the penniless Oppi and decided to seek out Picasso to rekindle their relationship—or so Picasso feared. Tucked away from the frantic Paris lifestyle in Cà ©ret, close to the Spanish border, Picasso and Eva got wind of Fernandes impending visit. They quickly packed and left instructions not to let anyone know of their whereabouts. They headed for Avignon and then met Braque and his wife in Sorgues later that summer. Death In 1913, Picasso and Gouel visited Picassos family in Barcelona, Spain, and talked about marriage. But Picassos father died May 3, 1913, and that same year, Eva either contracted tuberculosis or developed cancer. By 1915, she had spent weeks in the hospital. Picasso wrote Gertrude Stein describing his life as hell. Eva died in Paris on December 14, 1915. Picasso would live until 1973 and have dozens of affairs, a handful of which were well-known relationships with women, all of whom affected his art and life. Known Examples of Eva in Picassos Art Picassos period of  Cubist collages  and papier collà © flourished during his affair with Eva Gouel; he also took two photographs of her. A number of his works during this time are either known or thought to be of Eva, the best-known of which are: Woman with a Guitar (Ma Jolie), 1912.Woman in an Armchair, 1913, Collection Sally Ganz, New YorkSeated Woman (Eva) Wearing a Hat Trimmed with a White Bird, 1915-16, private collection.Eva on Her Deathbed, 1915, pencil drawing, private collection Sources McAuliffe, Mary. Twilight of the Belle Epoque: The Paris of Picasso, Stravinsky, Proust, Renault, Marie Curie, Gertrude Stein, and Their Friends through the Great War. Lanham, Maryland: Rowman Littlefield, 2014.Otterstein, Pola. Pablo Picasso And His Women. Daily Art Magazine, November 28, 2017.Richardson, John. A Life of Picasso: the Cubist Rebel, 1907–1916.  New York: Alfred A. Knopf, New York.  Tucker, Paul Hayes. Picasso, Photography, and the Development of Cubism. The Art Bulletin 64.2 (1982): 288-99. Williams, Ellen. Picassos Paris: Walking Tours of the Artists Life in the City. New York: The Little Bookroom, 1999.