Distortion and its visual manifestations in Francis Picabia's drawing

Abstract

Abstract:

The current research dealt with (Distortion and its visual manifestations in Francis Picabia's drawings), which focused on the concept of distortion with all its names, which contributed to undermining the cultural structures of art due to the dominance of ugliness and the unfamiliar.. In the production of the artist Picabia, new ideas that were previously unfamiliar celebrate the processes of distortion, disfigurement, ugliness and alienation.. Thus, the problem of the current research is summarized in raising a question of a cognitive and artistic nature, the most important of which is: Are there visual manifestations of distortion in the works of the artist Picabia? And how were those manifestations embodied in the artist's structural achievement?? The first chapter included the methodological framework of the research, which contained the research problem, its importance, the need for it, and its goal represented in identifying (distortion and its visual manifestations in Francis Picabia's drawings) within the limits of modern art in France during the period from (1915-1930). It also included identifying some terms and defining them. Passing through the second chapter (the theoretical framework), which included two topics, the first of which dealt with: distortion between concept and application, while the second topic included: the visual data of Picabia's productions between ugliness and distortion. The third chapter dealt with the research procedures and included the research community, which numbered (20) models, as representative models of the research sample were chosen intentionally, amounting to (3) models, and the researcher relied on the descriptive approach and the content analysis method in analyzing the sample models. This chapter also included building the tool in its initial and final form. The fourth chapter included the research results and conclusions, as well as recommendations and suggestions. The most prominent results reached by the researcher are:

1- The Dadaist artist Picabia relied on distortion and strangeness in forming his productions at the level of form and content, when he exceeded the levels of the familiar and reasonable and escaped from the constraints of reality in order to reformulate the visual achievement with new working mechanisms based on distortion, deformation, abstraction and the unreasonable.

2- Picabia adopted unfamiliar and unusual methods in producing his Dadaist visual achievement with an ugly character through the use of strange daily materials and raw materials with the introduction of ready-made materials using the collage technique, to produce for the viewer a different product that combines readiness, pasting and coloring, and thus the production is different intellectually and stylistically, exceeding the limits of the usual, and disrupting the contexts of reality and using distortion to distance the image from the familiar using imagination. Among the most prominent conclusions reached by the researcher:

1- The new formation culture of the Dadaist artist seeks to destroy the visual form and shatter the center of vision to the extent that it did not leave visible phenomena except for abbreviated features.

2- The concept of distortion came in Dadaism, especially Picabia, for the purpose of criticizing reality, in a sarcastic way and with a comedic character that depends on difference and distortion, as well as on chaotic forms that carry the characteristic of sarcastic ugliness.