Picasso
Hold
Life
Psychoanalysis
John 14:1
“Let not your heart be troubled: ye believe in God, believe also in me.”
“Let not your heart be troubled: ye believe in God, believe also in me.”
The fascination of this picture lies not only in its rich, stained-glass colors and decorative pattern of lozenges, circles, and stripes, but also in its psychological implications, which have given rise to a host of interpretations. Certainly, we have here no realistic, objective representation of a young girl engaged in the banal act of contemplating her own reflection. The face of the "real" girl at the left is young an rather expressionless; her features are those of Marie-Thérèse Walter, with whom Picasso had recently begun a liaison, and whom he frequently represented at this time. By contrast, the face reflected in the mirror seems older, and, with its unfathomable stare, parted lips, and hawklike nose, at once more anxious, aggressive, and inscrutable. It suggests a mysterious aspect of the girl's personality-as she is, or as she may become.
The body of the girl has been described as "simultaneously clothed, nude, and X-rayed." The striping of her bathing costume is transformed, at the right, into a diagrammatic rib cage. Her intense awareness of her own sexuality is manifest in the emphasis on rounded breasts and the bulging belly enclosing a circular womb.
This picture is a modern re-creation of a traditional Vanity image, in which a woman gazing into a mirror sees herself reflected as a death's head. It has also been noted that the looking glass is of a type called in France "psyché"-the Greek word for soul. It thus relates to a popular belief that a mirror has magic properties and can reflect the inner self, rather than the outward likeness of the person who peers into it.
The race was held in Florida.
Leo Messi, Inter de Miami
Chess: "Picasso" "Hold" "Life" "Psychoanalysis"
ProbableMENTE el versículo BÁSICA Y FUNDAMENTALMENTE más PSICOANALÍTICO expresado por Jesús, según los evangelios, sea Juan 14:1.
Y ahora revisando el libro de texto que me dieron en la Academia de la Fuerza Aérea DESCUBRO la profundidad y genialidad de los que estaban involucrados con la misión de sentar las bases formativas en mí para poder cumplir con lo que venía. Es obvio que, con sus palabras, Jesús en este versículo, lo que busca es convocar, pero convocar para acción SALVÍFICA no para fines políticos mundanos, sin intimidar o dictar. Y esto requiere ESENCIALMENTE elicitar desde el interior o sea MOTIVAR y la MOTIVACIÓN es de primerísima entrada de naturaleza PSICOLÓGICA!
Por eso el primer párrafo de los autores del texto lo expresa bien así:
-"Let us begin by agreeing that people are inquisitve, that there may be no human motive more powerful and pervasive than trying to make sense of things we do not understand."
Y precisamente tiene todo el sentido cabal que Jesús pida INSTROSPECCIÓN de manera implícita, porque eso es lo que es, introspección, pedir que crean en Él.
La portada de mi libro de texto de Psicología para el curso en la Academia de la Fuerza Aérea en Colorado Springs tiene la pintura famosa de Pablo Picasso ocupando toda la tapa y la contratapa sobre FONDO NEGRO!!🤔
y en el inicio un recuadro que transcribo a continuación:
Girl Before a Mirror. Pablo Picasso (1881-1973)
The fascination of this picture lies not only in its rich, stained-glass colors and decorative pattern of lozenges, circles, and stripes, but also in its psychological implications, which have given rise to a host of interpretations. Certainly, we have here no realistic, objective representation of a young girl engaged in the banal act of contemplating her own reflection. The face of the "real" girl at the left is young an rather expressionless; her features are those of Marie-Thérèse Walter, with whom Picasso had recently begun a liaison, and whom he frequently represented at this time. By contrast, the face reflected in the mirror seems older, and, with its unfathomable stare, parted lips, and hawklike nose, at once more anxious, aggressive, and inscrutable. It suggests a mysterious aspect of the girl's personality-as she is, or as she may become.
The body of the girl has been described as "simultaneously clothed, nude, and X-rayed." The striping of her bathing costume is transformed, at the right, into a diagrammatic rib cage. Her intense awareness of her own sexuality is manifest in the emphasis on rounded breasts and the bulging belly enclosing a circular womb.
This picture is a modern re-creation of a traditional Vanity image, in which a woman gazing into a mirror sees herself reflected as a death's head. It has also been noted that the looking glass is of a type called in France "psyché"-the Greek word for soul. It thus relates to a popular belief that a mirror has magic properties and can reflect the inner self, rather than the outward likeness of the person who peers into it.
From An Invitation to See: 125 Paintings from the Collection of the Museum of Modern Art introduction and comments by Helen M. Franc. Copyright © 1973 The Museum of Modern Art, New York. All rights reserved. Reprinted by permission.
Y ahora revisando el libro de texto que me dieron en la Academia de la Fuerza Aérea DESCUBRO la profundidad y genialidad de los que estaban involucrados con la misión de sentar las bases formativas en mí para poder cumplir con lo que venía. Es obvio que, con sus palabras, Jesús en este versículo, lo que busca es convocar, pero convocar para acción SALVÍFICA no para fines políticos mundanos, sin intimidar o dictar. Y esto requiere ESENCIALMENTE elicitar desde el interior o sea MOTIVAR y la MOTIVACIÓN es de primerísima entrada de naturaleza PSICOLÓGICA!
Por eso el primer párrafo de los autores del texto lo expresa bien así:
-"Let us begin by agreeing that people are inquisitve, that there may be no human motive more powerful and pervasive than trying to make sense of things we do not understand."
Y precisamente tiene todo el sentido cabal que Jesús pida INSTROSPECCIÓN de manera implícita, porque eso es lo que es, introspección, pedir que crean en Él.
La portada de mi libro de texto de Psicología para el curso en la Academia de la Fuerza Aérea en Colorado Springs tiene la pintura famosa de Pablo Picasso ocupando toda la tapa y la contratapa sobre FONDO NEGRO!!🤔
y en el inicio un recuadro que transcribo a continuación:
Girl Before a Mirror. Pablo Picasso (1881-1973)
The fascination of this picture lies not only in its rich, stained-glass colors and decorative pattern of lozenges, circles, and stripes, but also in its psychological implications, which have given rise to a host of interpretations. Certainly, we have here no realistic, objective representation of a young girl engaged in the banal act of contemplating her own reflection. The face of the "real" girl at the left is young an rather expressionless; her features are those of Marie-Thérèse Walter, with whom Picasso had recently begun a liaison, and whom he frequently represented at this time. By contrast, the face reflected in the mirror seems older, and, with its unfathomable stare, parted lips, and hawklike nose, at once more anxious, aggressive, and inscrutable. It suggests a mysterious aspect of the girl's personality-as she is, or as she may become.
The body of the girl has been described as "simultaneously clothed, nude, and X-rayed." The striping of her bathing costume is transformed, at the right, into a diagrammatic rib cage. Her intense awareness of her own sexuality is manifest in the emphasis on rounded breasts and the bulging belly enclosing a circular womb.
This picture is a modern re-creation of a traditional Vanity image, in which a woman gazing into a mirror sees herself reflected as a death's head. It has also been noted that the looking glass is of a type called in France "psyché"-the Greek word for soul. It thus relates to a popular belief that a mirror has magic properties and can reflect the inner self, rather than the outward likeness of the person who peers into it.
From An Invitation to See: 125 Paintings from the Collection of the Museum of Modern Art introduction and comments by Helen M. Franc. Copyright © 1973 The Museum of Modern Art, New York. All rights reserved. Reprinted by permission.
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