2025-08-21
When we tell the history of art, we are sometimes tempted by simplification. Perhaps it is in our nature to seek meaning in areas where we will not find it – like in paintings.
The birth of Cubism, and along with it a symbolic break with all previous stylistic conventions, is one such ready-made story. One day in 1906, Pablo Picasso was supposed to have an epiphany after seeing an African sculpture in Henri then Matisse's studio and transfer this impression onto canvas, thus changing the course of art history forever.
The problems arising from simplifying complex issues such as networks of influence continue to affect us today. In recent days, for example, we have witnessed a public dispute between art experts over whether 'Les Demoiselles d'Avignon' was inspired by African art or perhaps... medieval frescoes from Catalonia.
It is worth noting that this is actually a rehash of an old conflict between Picasso himself and Alfred Barr, the curator of MoMA. At an exhibition in 1939, Barr juxtaposed 'Les Demoiselles d'Avignon' with an African mask, which was supposed to show it as the main source of inspiration. However, Picasso disagreed with this interpretation and instead commissioned another art historian to write an article demonstrating the similarity between 'Les Demoiselles d'Avignon' and Iberian reliefs.
Art researcher Alain Moreau also attempted to undermine the connection between Picasso's painting and African sculpture. In a recently published article, he tried to prove that the direct source of inspiration for 'Les Demoiselles d'Avignon' were specific medieval frescoes from Catalonia and France.
The response from art historians was not enthusiastic. It was pointed out that seeking a single source of inspiration for a modern work is too simplistic, given the diversity of media available to artists in early 20th century.
