The Spanish Colonization in the Philippines - 757 Words

THE SPANISH COLONIZATION IN THE PHILIPPINES The Philippines was very lucky because our country was rich in natural resources. And that is the reason why many foreign countries had colonized our country. Spain is one of the foreign countries that colonized our country for more than three hundred years. They are the reason why Filipinos experienced suffered, hardship, persecution etc. during their colonization. But the Spanish had also contributes good things in our country specially to us Filipinos. The Spanish colonization in the Philippines lead to us to make some questions in our mind on how does the Filipino survived? Even though they†¦show more content†¦The Spanish changed the lives of Filipino. Even though the Spanish was inhumanity but the Filipino was still lucky because the Spanish people exerted efforts to implement our country by sharing to us the way of their living and those things contributed a lot to us Filipino. And we also give thanks to the Spanish because they converted the Filipino into Catholicism because if the Spain had not succeeded to colonized our country, then our country would have been a Muslim nation now. Catholicism is the most important contribution that the Spanish given to us. The Spanish colonization in the Philippines brought such poverty, violence, misery to us Filipino. But it also contributes us a lot of good things. They improved and helped our country in many ways. Even though the Filipino experienced the inhumanity of the Spaniards but still they influenced us the way of their living and until today we still used and make those influences in our daily lives. The only thing that we can say in the Spanish colonization is that we felt different emotions. We felt angry because the Spaniards abused the Filipino they treated them as slaves. We felt sad because their are many Filipinos sacrificed their own lives just for theShow MoreRelatedColonization Or Imperialism Is Done By Treaties Or Agreements?1652 Words   |  7 Pages Colonization Lis Mendez AIU Online Abstract Prior to the modern or new era it was believed that conquers who conquered other lands had the right to take possession of that land, its riches, resources and even the people in order to achieve their own political agenda. Today the concept has changed, colonization or imperialism is done by treaties or agreements, they are acts in which governments negotiate with a less powerful country, they lead them to believe that their colonization willRead MoreAmerican Contibution to the Philippines1221 Words   |  5 PagesContribution of American to the Philippines 1. Independence  - America helped the Philippines to eliminate the Spaniards in the country thus helping the Filipinos to end the suffering from the Spanish reign. This was the first step of the country to stand on their own and start a new beginning.   2. Government  -we adapted and patterned some of our constitution with the Americans.   3  Sports  - Filipino favourite sport had been basketball, and other foreign sports instead of the national sports whichRead More The Colonization of the Philippines Essays1415 Words   |  6 Pages Generally, textbooks, articles, and essays talk about America’s â€Å"occupation,† â€Å"supervision† or â€Å"intervention† in the Philippines. They seem to be afraid to use the word â€Å"colonization.† According to Webster’s Dictionary the definition of colonization is, â€Å"The colonial system of political government or extension of territory, by which one nation exerts political control over another nation, territory, or people, maintaining the colony in a state of dependence, its inhabitants not having the same fullRead MoreEvents of the Philippine Island1143 Words   |  5 PagesChapter 8 of Antonio de Morgas Events of the Philippines Islands with the Rizal annotation. Then take one section of Chapter 8 which talks about precolonial cultures and IN YOUR OWN WORDS, discuss its significance and use to our present-day ideas of culture, history, and identify. 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They are known for a huge varietyRead MoreAmerican Imperialism and the Colonization of the Philippines Essay1583 Words   |  7 PagesAmerican Imperialism and the Colonization of the Philippines The irony of the 1898 Spanish-American war was that Americans fought partly to aid Cubans in the fight for Cuban sovereignty, and the United States ended up colonizing some territories they won from Spain, like the Philippines. Despite America’s previous claims of only supporting independence and democracy, the United States became an imperialist power and colonized the Philippines (Introduction to the Spanish-American war and the FilipinoRead MorePortuguese Explorer Ferdinand Magellan From The Islands Of The Philippines1506 Words   |  7 PagesIn 1521, the Portuguese explorer Ferdinand Magellan arrived in the islands of the Philippines. He claimed the land he arrived at for Spain and established relations with local leaders of the islands Limasawa and Cebu, although he was eventually killed by a group of natives in Cebu who disliked the idea of being ruled over by foreigners. After this, the Spanish led several expeditions to the Philippines, and eventually named them à ¢â‚¬Å"Las Islas Filipinas†, after Phillip II, the king of Spain. In 1564Read Morephilippine literature1582 Words   |  7 Pagestribal Filipinos, or  among lowland Filipinos that have maintained their links with the culture of their non-Islamic or non-Christian ancestors According to scholar William Henry Scott , â€Å"there is a discrepancy between what is actually known about Philippine prehistory and what has been written about it† many chroniclers possessed biases towards early Filipinos andthese were reflected in their accounts/writings. î€  Folk tales, epics, poems and marathon chants existed in most ethnolinguistic groups thatRead MoreCultural Influences Of The Philippines1601 Words   |  7 PagesCultural Influences of the Philippines SSG Thurber, Michael J. ALC Class: 002-16 Introductory In a few hundred years, traditional Filipino Culture has changed. It went from developed tribes to a more modern day society. In this essay we will be discussing the unique culture of the Philippines and the causes of that culture. Such as, the regional location, growth in population, military conflicts, before and after the Spanish colonization, the Spanish-American War, the presenceRead MoreAmerican Expansion During The 19th Century1349 Words   |  6 Pagesforeign countries. The industries would mostly want the resources and to have a market in each country. The U.S. colonized territories such as Philippines, Hawaii, and Latin America for their resources. These countries were specially targeted for the benefits they gave to American companies. Therefore, the industrial revolution was directly related to the colonization of underdeveloped countries. The American Industrial Revolution had started in 1800’s and grew at a tremendous rate after the civil war

Euthyphro s Dilemma Of Plato s Euthyphro - 968 Words

In Euthyphro, Socrates discusses with Euthyphro about what the â€Å"piety† is. The conversation leads to what most modern philosophers now define as Euthyphro’s dilemma. It is stated that† Is something pious because the gods love it or the gods love it because it is pious?† This dilemma is also known as the â€Å"Divine Command Theory†, which has puzzled many Christian philosophers throughout the years. Socrates’ account seems to disagree with Euthyphro’s. This paper will argue against the dilemma in Socrates’ account. The story setting is at the court, where Socrates is going to defend himself from being accused of corrupting the youth and not worshipping the gods in the right way. Socrates meets Euthyphro who is famous for being able to tell the future. During the conversation, Socrates finds out that Euthyphro is here to prosecute his father for murder. Euthyphro said that Zeus killed his father, Cronus, for eating Zeusâ€℠¢s siblings, therefore; by prosecuting Euthyphro’s own father, he is doing the pious act. He also claims that he has the knowledge of the gods. Socrates asks Euthyphro to teach him what piety is. Euthyphro said, â€Å"what is loved by the gods is pious, and what’s not loved by the gods is impious.† Socrates is not happy with Euthyphro’s answer because it does not give the exact definition of what piety is. Moreover, during their conversation, they establish that the gods do disagree among each other, which means what is loved by one god may not be loved by anotherShow MoreRelatedAnalysis Of Plato s The Euthyphro 1723 Words   |  7 Pagesof the greatest reflective thinkers of all time, Plato was the innovator of many written philosophical dialogues. Accompanied by his teacher, Socrates and his most notorious disciple, Aristotle, Plato set the groundworks of Western philosophy and science amid dialogues such as Apology, Euthyphro, Republic and Laws. Thes e dialogues provided some of the earliest handlings of political inquiries from a philosophical viewpoint. In the Euthyphro, Plato composes a dialogue that transpires in 399 BC, weeksRead MoreIn PlatoS Euthyphro, Socrates And Euthyphro Discuss The1734 Words   |  7 PagesIn Plato s Euthyphro, Socrates and Euthyphro discuss the nature of piety. Euthyphro first proposed that piety is that which the gods love. His proposal was quickly objected by Socrates though, since the gods often disputed amongst themselves and therefore what one loves can be what another hates. Euthyphro then revised his hypothesis to say that piety is that which the gods love unanimously and for the moment this was their conclusion. This definition however, that piety is what the gods love unanimouslyRead More Traditional And Utilitarian Approaches To The Euthyphro Dilemma1864 Words   |  8 PagesUtilitarian Approaches To The Euthyphro Dilemma In the Euthyphro, Plato describes the proceedings of a largely circular argument between Socrates and Euthyphro, a self-declared prophet and pious man, over the nature of piety and even of the gods themselves. The issues raised in this dialogue have been reinterpreted and extended to remain relevant even with a modern theological framework, so much so that the central issue is now known simply as ?the Euthyphro dilemma.? This is based on SocratesRead MoreThe Divine Command Theory : Capital Punishment And Abortion Essay1128 Words   |  5 Pagesreligion in a manner that seems expected, since it provides a solution to arguments about moral relativism and the objectivity of ethics. On the other hand, in Plato’s Euthyphro, Socrates questions whether something is right because God commands it, or whether God commands it because it is right. The ethical implications of the Euthyphro problem suggest that the relationship between morality and religion might not be as straightforwar d as suggested by the Divine Command Theory. Two contemporary issuesRead MoreSummary : The Thief 1813 Words   |  8 Pagescow’s meat while others do not give too much importance to what one is eating. Now that the two most common roles of religion in morality have been clarified, this next paragraph will give a special emphasis to the Divine Command Theory and the Euthyphro Dilemma. Some religions believe that God has told us to obey and follow certain rules of conduct; he created us as free agents so we may choose what to do (Rachels 51). This is the central idea of the Divine Command Theory. It basically says that GodRead MoreThe Utilitarian Philosophy Of Human Existence Individuals And Societies Have Made Decisions That Are Ethical And Moral Decisions2165 Words   |  9 Pagesbecause they explain how we as individuals should be responsible for our own actions in a conscious way and not just through religious belief. The DCT is thought to be fictional in Plato’s Euthyphro dilemma, which is based on an argument presented in the Euthyphro dilemma based on Plato’s Euthyphro. Euthyphro questioned whether torture was wrong because God commanded it to be naturally wrong or he confirms it to be morally wrong (Augustine, 1995). For example, if stealing was a virtue of God it isRead MoreReligion and Morality1263 Words   |  6 Pagesmorality are linked. In this essay I am going to be looking at all the different view points on why some people may think religion and morality are linked. I will talk about a few things that link them such as conscience, divine command ethics, Kant s view and Aquinas view. Many people believe that morality is based upon religion and the rules written in the Bible and other holy books, although some say that religion is completely opposed to morality and it is wrong to mix the two. Some scholarsRead MoreDr. Martin Luther King Jr1952 Words   |  8 Pagesthinking and writing. Dr Martin Luther King Jr was no different. When he got jailed in Birmingham in 1963, he penned Letter from Birmingham Jail, which explained his positioning on his nonviolent approach to fighting for Civil Rights. Along with Plato, Descartes, Mills and Rousseau, Dr Martin Luther King Jr was one of the greatest philosophers in history because his nonviolent approach to fighting for Civil Rights (for all colors) sparked a great revolution, throughout the United States and also

Picasso Final Paper Free Essays

string(70) " the shock waves reverbetrated and the inevitable outcome was Cubism\." Final Paper William Kidwell ART101: Art Appreciation Instructor: Patricia Venecia-Tobin October 8, 2012 Evaluate Pablo Picasso’s Demoiselles d’Avignon. How did this work reshape the art of the early 20th century? Pablo Picasso’s painting Les Demoiselles d’Avignon is a wonderful piece of art, and the style in which the picture is painted is very typical of Picasso. The artist completed the picture in the beginning of the previous century, in 1907, and used oil on canvas. We will write a custom essay sample on Picasso Final Paper or any similar topic only for you Order Now Generally, Pablo Picasso is famous for unnaturally distorted figures in his paintings of that year, and Les Demoiselles d’Avignon is a great example. The picture is now hanging in the Museum of Modern Art in New York. Pablo Picasso hated discussing his art, yet once he spoke frankly about â€Å"Les Demoiselles d’Avignon,† his greatest painting and a touchstone of 20th-century art that is 100 years old this summer. On this occasion, Picasso did not address the subjects that transfix art historians — the origin of Cubism, the supplanting of old avant- gardes, and the impact of non-Western art. He cut through academic dissertations to offer one of his most heartfelt admissions about why he made art. He spoke of artworks as â€Å"weapons . . . gainst everything . . . against unknown, threatening spirits,† and he affirmed that â€Å"‘Les Demoiselles d’Avignon’ . . . was my first exorcism painting — yes absolutely! † His encounters also return us to the idea of art as â€Å"exorcism. † When Picasso spoke about art being a weapon, he was specifically describing African â€Å"fetishes. † He called them defensive weapons: â€Å"They’re tools. If we give spirits a form, we become independent. † In this sense, the splintered spaces and awesome creatures of â€Å"Les Demoiselles† vividly embody looming malevolent and seductive forces — and stop them in their tracks. Picasso’s painting pushes us to the edge of primal confrontation. It projects human savagery only to trap it in the painted crust. [Jacques Doucet] failed to offer the painting to the Louvre, and a few years after his death the 10-year-old Museum of Modern Art acquired not only a masterpiece but international stature as the leading museum of contemporary art when it purchased the painting in 1939. Since that date, â€Å"Les Demoiselles† has been almost continuously on public view (a current exhibition at the Museum of Modern Art, â€Å"Picasso’s Demoiselles d’Avignon at 100,† is up through Aug. 7 and displays the painting with 11 related works). Yet only in the past few years have we had the chance to see it almost as it looked when it left Picasso’s studio in 1924. In 2003-04, MoMA undertook a full-scale conservation effort and stripped the picture of layers of varnish that someone other than Picasso had applied. For generations, the varnish masked the physical texture and mass of Picasso’s brushwork under an anodyne sheen. Now we see the painting the way Picasso left it — a raw, intensely fractured skin of ideas. ( Fitzgerald, M. (2007, Jul 21). PURSUITS; leisure amp; arts — masterpiece: His unladylike young ladies; in 1907, picasso’s ‘les demoiselles’ shattered convention. Wall Street Journal. Retrieved from http://search. proquest. com/docview/398999057? accountid=32521) [Pablo Picasso] worked on Les Demoiselles d’Avignon as he had never worked on any painting before. One art historian has even claimed that the hundreds of paintings and drawings produced during its six- month gestation constitute â€Å"a quantity of preparatory work unique not only in Picasso’s career, but without parallel, for a single picture, in the entire history of art†. Certainly, it matches the work artists had traditionally put into history paintings and frescoes. Picasso knew he was doing something important, even revolutionary – but what? What struck Picasso about African masks was the most obvious thing: that they disguise you, turn you into something else – an animal, a demon, a god. Modernism is an art that wears a mask. It does not say what it means; it is not a window but a wall. Picasso picked his subject matter precisely because it was a cliche: he wanted to show that originality in art does not lie in arrative, or morality, but in formal invention. This is why it’s misguided to see Les Demoiselles d’Avignon as a painting â€Å"about† brothels, prostitutes or colonialism. The great, lamentable tragedy of 18th- and 19th-century art, compared with the brilliance of a Michelangelo, had been to lose sight of the act of creation. That’s what Picasso blasts away. Modernism in the arts meant exactly this victory of form over content. That doesn’t mean it is disconnected from the world. Les Demoiselles d’Avignon could not be more earthily, pungently affective – it is, after all, full of sex. It’s a sexuality that bears no resemblance to that of, say, Klimt. Although it emerges from the same decadent milieu, it does things no artist of the fin- de-siecle had contemplated. In this painting Picasso anticipates the discoveries he made explicit in his cubist pictures: he all but obliterates the 500-year-old western tradition of perspective by flattening his flesh silhouettes in a space that goes nowhere. It’s this visual violence that liberates his eroticism, because it erases any meaning or narrative. Such a tremendous unbinding of desire was unprecedented in art, not to mention Christian culture. After the first world war, Andre Breton came to Picasso’s studio, saw Les Demoiselles d’Avignon and recognised it as the definitive modern masterpiece. Breton, the leader of the surrealists, saw in it a painting about the revolutionary menace of the unconscious, and he was right. (Jones, J. (2007, Jan 09). G2: Arts: Pablos punks: It’s exactly a century since Picasso painted les demoiselles d’avignon. Jonathan Jones reveals why this explosion of sex, anarchy and violence gave birth to the whole of modern art. The Guardian. Retrieved from http://search. proquest. com/docview/246571101? accountid=32521) This painting was painted in 1907. It was called the most innovative painting since the work of Giotto, when Les Demoiselles d’Avignon first appeared it was as if the art world had collapsed. Known form and respresnetation were completely abandoned. The reductionism and contortion of space in the painiting was incredible, and dislocation of faces explosive. Like any revolution, the shock waves reverbetrated and the inevitable outcome was Cubism. You read "Picasso Final Paper" in category "Papers" This large work, which took nine months to complete, exposes the true genius and novelty of Picasso’s passion. Suddenly he found freedom of expression away from current and classical French influences and was able to carve his own path. Picasso created hundreds of sketches and studies in preparation for the final work. It was painted in Paris during the summer of 1907. Demoiselle was revolutionary and controversial, and led to anger and disagreement amongst his closest associates and friends. Picasso long acknowledged the importance of Spanish art and Iberian sculpture as influences on the painting. Demoiselle is believed by critics to be influenced by African tribal masks and the art of Oceania, although Picasso denied the connection; many art historians remain skeptical about his denials. Several experts maintain that, at the very least, Picasso visited the Musee d’Ethnographie du Trocadero in the spring of 1907 where he saw and was unconsciously influenced by African and Tribal art several months before completing Demoiselles. Some critics argue that the painting was a reaction to Henri Matisse’s Le bonheur de vivre and Blue Nude. Picasso drew each figure differently. The woman pulling the curtain on the far right has heavy paint application throughout. Her head is the most cubists of all five, featuring sharp geometric shapes. The cubist head of the crouching figure underwent at least two revisions from an Iberian figure to its current state. Much of the critical debate that has taken place over the years centers on attempting to account for this multiplicity of styles within the work. The dominant understanding for over five decades, espoused most notably by Alfred Barr, the first director of the Museum of Modern Art in New York City and organizer of major career retrospectives for the artist, has been that it can be interpreted as evidence of a transitional period in Picasso’s art, an effort to connect his earlier work to Cubism, the style he would help invent and develop over the next five or six years. Since the late 18th century, artists had been re-evaluating the Renaissance’s concept of pictorial space, created through the means of linear and atmospheric perspective, whereby a fixed spectator observed a cube of space in which the sense of depth was created by a geometric diminution of objects in scale and in clarity as, apparently, they receded into the distance.. For Picasso, this rendering of space was no longer valid because the â€Å"fixed spectator† no longer existed. Now the modern spectator had been transformed into someone who was in constant movement, forced to look at objects from several points of view. Picasso became obsessed with what he regarded as the anachronistic artistic rules governing the representation of three-dimensional form on a flat surface and with reconciling them with the new modern acceleration. Les Demoiselles d’Avignon represents a working out of this reconciliation. His solution was to paint five nude contorted women. Now let’s examine why he would portray them in such a manner. If we examine the seated woman to our right, you’ll notice that her face and arms are facing us but her torso, buttocks and extremities are turned away from us. In other words, Picasso lets us simultaneously glimpse at different aspects of this woman that a fixed viewer could not ordinarily do so. In other words, Picasso is trying to show us a composite of this woman from as many different points of view as possible so that we may experience her in her totality. Picasso does the very same thing to the woman standing to our left. If we examine her closely, we will notice that she is ambiguously portrayed. First of all, her face is depicted both laterally and frontally. She is posed like an ancient Egyptian form who looks to the side but whose eye looks directly to the front. Furthermore, if we inspect her body, we will discover something very odd. Her right side is depicted dorsally, whereas her left side is portrayed frontally. It’s as if Picasso has twisted her body so that we may get a glimpse of as many aspects of her as possible. In other words, Picasso wants to show us this woman in her entirety. In rendering the new reality, Picasso also abandons harmonious bodily proportions. This, of course, was done on purpose since Picasso had been trained at art school how to render the human figure through mathematical proportions. The woman located at the very center of the canvas is quite disproportionate, elongated as though she were a figure out of an El Greco painting. If we focus on her extremities, they seem to go on forever, as if her short-waisted torso was out of context with the rest of her body. And so it goes for the rest of the figures in the picture. Was there any precedent for doing such a thing? Picasso’s Les Demoiselles is homage to Paul Cezanne’s The Bathers. Not only do both works echo Cezanne’s dictum of â€Å"the cone, the cylinder, and the sphere,† but both paintings distort the human body. However, whereas Cezanne distorts the women in The Bathers in order to bring the viewer into the pictorial plane and to balance the figures and structures within the painting, Picasso does so for a different purpose. Picasso distorts each of these women to show who is in power—that he can take control and mangle them—and that, in the final analysis, they still threaten him as human beings. But this distortion and use of pure geometrical shapes are not the only elements that Picasso borrows from Cezanne’s work. Picasso limits his palette just as Cezanne does because both are concerned more with the rendering of form than with the use of color. To have used more colors than the blues, pinks, ochres, rusts, and grays that he employs would have been distracting. Furthermore, these colors are totally flat, as though to suggest that these women are linearly rendered, â€Å"constructed† rather than modeled. Les Demoiselles is also disturbing in the ghastly and violent way that the women’s faces are portrayed. Georges Braque went so far as to say that â€Å"Picasso was drinking turpentine and spitting fire†. But these women appeared the way they do for very specific reasons. These women are, after all, prostitutes who are cold, calculating businesswomen who dabble in sex for a profit and who practice a â€Å"savage† profession. The three women on the left look as though they were made from stone, and, remember, the onlooker is a sexual voyeur who is experiencing sexual anxiety. There is nothing inviting about either of them. Their faces are derived from the pre-Roman Iberian bronzes that Picasso had seen in the Louvre and had been experimenting with since 1906. The two remaining women’s faces are borrowed from African sculpture, a jarring juxtaposition. Perhaps one of the reasons why he did this is to suggest the dark, uncivilized nature of the â€Å"oldest† profession. Another reason is that these women represent a composite of the Spanish people, descended from native tribes the Iberian Peninsula, North Africa, and middle-eastern Jews. Furthermore, perhaps Picasso is even alluding to the final stages of syphilis, whereby the human face becomes a bulbous mask of thickened skin. But maybe Picasso’s interest in deforming their faces is purely a formal one, a means of negating realism and embracing abstraction and distortion. Nevertheless, this plundering of African art was revolutionary in that Picasso uses it to shock the viewer through brutality and savagery. Painting was never to be the same. Originally Les Demoiselles was going to be an allegory of venereal disease entitled â€Å"The Wages of Sin. † In the study for the painting, Picasso sketched a sailor carousing in a brothel amongst prostitutes and a young medical student holding a skull, a symbol for mortality. But the subsequent painting is quite different from the original sketch: only the women appear. And these women are not the traditional nudes that viewers had become so accustomed to in the 1880’s when Degas and Toulouse-Lautrec had begun to capture them in the moment of the â€Å"parade,† whereby prostitutes announced their wares and services to their clients. Nor are these women feminine and beautiful as Ingres’ Venus Anadyomene. Then who are these women in this brothel in Barcelona’s Avignon Street and why do they appear the way they do? Perhaps the answers to these questions lie in Picasso’s fear of women in general. Their flesh is not depicted as being soft and inviting but sharp and knifelike. In fact, their flesh suggests castration and fear of women. As Robert Hughes implies, â€Å"No painter put his anxiety about impotence and castration more plainly than Picasso did in Les Demoiselles, or projected it through a more violent dislocation of form. Even the melon that sweet and pulpy fruit, looks like a weapon†. But are there any other reasons why Picasso gives these women these shocking forms? Looked at in this way, it could be said that Les Demoiselles carries a message of filth and disease through its representation of these prostitutes, the crouching figure the most so. It is as if Picasso has deliberately mutated the figures as a way to express the rising cultural awareness and effects of venereal disease, which had become a major threat to prostitutes’ and their clients lives and each prostitute in the painting depicts a stage in the effects of sexual disease and decay. The whole painting gives an impression of uneasiness, because it breaks all the traditional rules of Art and also because it shows a disturbing scene that offers no sensuous interpretation; the Demoiselles are not pretty, they look barely human and some even interpret their distorted faces as the signs of illness. Pablo Picasso’s painting Les Demoiselles d’Avignon is a wonderful piece of art, and the style in which the picture is painted is very typical of Picasso. The artist completed the picture in the beginning of the previous century, in 1907, and used oil on canvas. Generally, Pablo Picasso is famous for unnaturally distorted figures in his paintings of that year, and Les Demoiselles d’Avignon is a great example. The picture is now hanging in the Museum of Modern Art in New York. In collusion, Picasso contributed a great deal to the world. He gave the world 50,000 timeless pieces of work. He helped express his opinions on violence and the Spanish Civil War. And finally Picasso contributed Les Demoiselles d’Avignon and cubism. Picasso was and extremely talented person and artist who gave the world a great deal of innovations and opinions and artwork. References www. faculty. mdc. edu www. pablopicasso. org http://search. proquest. com/docview/398999057? accountid=32521) http://search. proquest. com/docview/246571101? accountid=32521) www. ttexshevles. blogspot. com How to cite Picasso Final Paper, Papers