The author reads demoiselles in African masks differently by comparing it to Picasso’s stocky body, and critic it positively as strong. Chave disputes the notion because she believes that the unmasked faces of the three figures on the left-hand side resemble glazed-over visages of hard-worn pros (Chave 599).
Chave describes the prototypical male response as awful and fearsome of the depicted prostitutes. The bolsters the aforementioned argument through psychological basis that the prostitution began to fulfill male desires and accounting for unmitigated dearth of pleasure becomes difficult. The author also cites Freud’s theory in noting prevalence of men’s desire to depreciate women.
The author characterizes Benjamin’s observation as a reflection of the emergence of prostitution as a fundamental figure in urban modernity. Chave explicitly remarks Benjamin’s argument that prostitution have contributed to superficiality or growing coldness of social relations besides decline in love within the economy.
Chave accounts for Picasso’s Les demoiselles less suit for public display through rationale that the artist left his work in a disjunctive state when he deployed visual idioms in rendering different physiognomic types. The disjunctive state caused debate among historians of whether his painting was finished. Chave continues the train of thought about class and race by depicting Manet and Picasso’s prostitutes as working-class women mostly due to their coarseness and compact muscularity.
The author’s feminist methodology consisting of a masculine sexual presence and the inherent feminine body structure of the prostitutes assists in describing the cubist space based on gendered terms.
Steinberg frames experience viewing Picasso’s painting almost luridly as an act of coitus. Bois explains production of a