The paper "Picasso’s Three Dancers" gives an interpretation of painting "Three Dancers" by Pablo Picasso. There was a concept he referred to as the sublime – an idea that remained just out of reach of definition and therefore could only be suggested, never represented. This element has also been referred to as the meaning of an image which these artists were trying to suggest was as much the result of the audience’s understanding of it as it was the result of the artist’s conception or his ability to transfer this into visual images. These ideas can be discovered in Picasso’s painting “The Three Dancers”. The title of the painting gives the first clue as to what the artist had in mind when creating this image - one expects to see three people clearly engaged in some form of fluid synchronized movement. Instead, one is confronted with hard lines, jagged angles and bold colors but no realistic forms, no easily understood movements. The Tate Museum tells us, “The jagged forms of Three Dancers convey an explosion of energy. The image is laden with Picasso's personal recollections of a triangular affair, which resulted in the heart-broken suicide of his friend Carlos Casagemas. Love, sex and death are linked in an ecstatic dance. The left-hand dancer in particular seems possessed by uncontrolled, Dionysian frenzy. Her face relates to a mask from Torres Strait, New Guinea, owned by the artist, and points to Picasso's association of 'primitive' forms with expressiveness and sexuality” (2004).