For many centuries there existed two primary sculpting methods: carving out of a solid block of material or making a mold out of a plaster figure and then casting it. In other words, one either produced a single piece at once in an empty space or removed the excess material from a saturated space to get sculpted object. Gonzalez and Picasso introduced the option of using fragments and ready-made elements to assemble a sculpture by parts and in stages (Warncke 46). “Woman in a Garden” is also called the first “environmental sculpture” (Gimenez 32). Their work had a lasting impact in the history of sculpting, as their approach was later studied by artists such as David Smith, Mark di Suvero, and Eduardo Chillida (Gimenez 33).
Picasso believed that “reality can never be satisfactorily stated except by paradox” (Penrose 24). The entire paper is a testimony that records the numerous contrasts, controversies, and unconventional events through which Picasso expressed his thoughts “in bold strokes” (genious 51). Picasso enjoyed suspending himself in between two modes of encountering the world, whether it was abstraction versus reality, painting versus sculpture, or the modern versus the traditional. Picasso said “I want to draw the spirit," he has said, "in a direction to which it is not accustomed and to awaken it" (Penrose 24). The human kind owes gratitude to Picasso for stirring it up.
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