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Introduction
Languages, verbal and nonverbal (sound, visual, and others), art develops and encourages sensitivity, resourcefulness, creativity, perception, creativity, among other qualities. Art is representation, is communication and is from the beginning, humanity expresses their feelings and experiences through the artistic language. The design, dance, music, theatre, visual arts were established in response to the different needs of human expression. According to Petry (2001, p. 22), to decode a text it is to go into the plot in its texture, in its tissue, read a pictorial text is enter in their shapes, lines, colours, and specific volumes in an attempt to uncover an ancient code that often is not explicit, it is unknown to us, and sometimes frightens us. According to the author decoding is to search and know the world which is implicit in the work of art, this process involves our sensory senses, emotional, intellectual, neurological, and cultural and economic and starts very early. This all provides a bridge between the reader and the knowledge, the reflection and reordering of the world, allowing you to assign meanings, allowing an extension of the worldview. This extension of the worldview, in other words, means understanding the seeing, by looking and makes the reading world with a language linked to reality. Barbosa (1991 p.34) states that "by reading works of art will be preparing the child for the decoding of visual grammar" Like any language, art is a language that has codes, this is the artist in his art making, operates with elements of the grammar of visual language as form, colour, texture, movement, rhythm, light, colour, background, line and relates all this giving rise to codes, representations and meaning systems. This report will make a critical analysis of the artist (Pablo Picasso) and his works, as well as the key and determinants factors that contributed to the development of its artworks. As for the image reading: READING IMAGE (AESTHETIC ENJOYMENT) Visual Description; Visual analysis; Interpretation; Judgement.

Requires:
Visual discrimination; Objectivity; Creativity; Invention; Use of specific vocabulary.

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The image reading is known as a chance to read what we see, refers to the significant appreciation of art and the universal in living related to it, in contact, sensitivity, observation, perception, reading and testing visual elements of art in all the work. Man has learned the importance of communication, and even before writing, it had already created a system of communication through images. The image promotes thought, arouses fascination to understand it. Manguel (2001) lists several possibilities of reading through the images: "the image as narrative, as the absence, the image as an enigma, the image as a witness, the image as understanding, the image as a nightmare, as the image reflection, the image as violence, the image as subversion, the image as philosophy, the image as a memory, the image as theatre. Finally, images can be stories or promote stories. In the artistic image, many times, we find the expression of feelings, among other concepts. It is the possibility of expression of the artist and the viewer in contemplate it. Therefore, for many artists, a piece of art is never complete and its only ready at every moment that someone appreciates and gives it a particular meaning. As Manguel (2001, p.21) the images that make up our world are symbols, signs, messages and allegories, or may be just empty presences that we completed with our desire, experience, questioning and remorse". Thus, our behaviour before the image requires a contemplation that can facilitate the understanding of what it represents. In narrative reading, they formally exist in time, the images, in space. During the middle Ages, a single painted panel could represent a narrative sequence, incorporating the flow of time within the limits of a spatial framework. However, in the Renaissance, the paintings are frozen in a single moment: the moment of vision as perceived from the perspective of the viewer. The narrative then began to be transmitted by symbols, dramatic poses, literary allusions, titles, by what the viewer could perceive that were occurring. The images, however, present themselves to our consciousness instantly, closed by its frame. When reading images - whether painted, sculpted, photographed, built or staged, they attach to the temporal nature of narrative. Expanded what is limited by a frame before and one after, and through the art of telling stories. We build our narrative echoes through other narratives, through the illusion of self-reflection, through technical and historical knowledge, the daydreams, the prejudices, the lighting, the scruples, of ingenuity, compassion and through ingenuity. The image of art work exists somewhere between perceptions: between that which the painter imagined and one that put on the painting, and finally, when we try to read a painting, it may seem lost in an abyss of incomprehension or even several interpretations. Each work of art has code, which is a structured system of signs that allow multiple artistic readings, impregnated them with our previous knowledge. "This is not a painting, but to speak of painting in another speech, sometimes silent, some times graphic and verbal art. It is to develop skills of seeing, judging and interpreting the qualities of the works, including the elements and the relations established in all the work. Martins (1998) noted that is an image which allows a multitude of readings according to their relationship suggests that its elements can be read from the same image of approaches: Gestalt, semiotic, aesthetic or iconographic among others for an interdisciplinary examination. a) Gestalt Consider the elements of visual language as line, point, colour, light, volume, observes the spatial organization, plans, relations of proportion and balance, rhythm, i.e., it analyzes the formal structure .

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BUS (HONS) DESIGN: COMUNICATION

It emphasizes signs, symbols and signs in the image. The analysis addresses the systems of symbols and signs constructed as a visual text that takes us to other visual texts, the relationship between images of different authors and times. c) Iconographic / iconological The first considers the characteristics of style, considering the content and meaning of works of art, observing its shape. The second seeks to understand the work within a culture, a philosophy or a belief. d) Aesthetics Consider the expression, which is eternal and what is transitory, the circumstantial of a time the object has to be analyzed. The four components proposed by Feldman (1991) are Visual description, Visual analysis, interpretation and judgments, which are distinct but interconnected and do not occur necessarily an order. a) Visual description It concerns to the identification of the work: title, artist name, what he did, date, time, location was made, technical and material used, the type of representation: figurative or abstract. This step is important to list what you are seeing the first moment of observation, listing what is evident, taking care not to draw conclusions (Feldman, 1991). b) Visual analysis At this stage it seeks to discriminate that way the forms are arranged in the work and its relationship as: this work is made diagonally? vertically? Or horizontally? Analyze the visual elements on the distribution of: line, space, volume, shape, colour, texture, balance, contrast, harmony. c) Interpretation This stage, according to Feldman, is the hardest, the most creative and rewarding. Generally, both children and adults talk with more ease because they can feed the imagination and talk with the work without fear of error and fear of not understanding it. The stage of interpretation seeks to make sense of visual observations of the art object. It involves feelings, sensations, emotions (sadness, joy, fear, fear, melancholy, heat, cold), relating the image with reality. Equivalent to subjective analysis, as it seeks to make sense of the work. To interpret is to arrange the observations so significant, that is, to connect ideas involving sensations and feelings you have before a picture. An interpretation seeks to establish relations between the image and the lives of people who enjoy it. So to interpret is to trust in you to uncover its intuition, intelligence, imagination and combine them with the concepts and observations. However, it is appropriate the image in the proper and special sense, (Feldman, 1991). d) Judgement Not everything we see affects us the same way, some works have a special meaning for us, others seem to be of poor quality, certain images we would like to review, others not. To judge a work of art is to assess its artistic quality. This assessment is grounded in a philosophy formalist, expressivist, instrumentalist - i.e., what the artist wants to move to the work (feelings, [Type the company name] | INDIVIDUAL ASSIGNMENT 3

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social or political ideas, ideologies, visual effects, expressions, etc.). This judgement is always based on some knowledge about the work and the artist, (Feldman, 1991).

What is an artist?
What do you think an artist is? a fool only made of an eye, if it is a painter; or ears only, if is a musician; or heart-shaped lyre, if it is a poet; or even only made of muscles, if it is a boxer. Its quite the opposite. He is at the same time a political being, always alert to the sad events, joyful, violent, which reacts in every way. No, painting is not done to decorate apartments. It is an instrument of war for defensive and offensive operations against the enemy. The artist is to be all and not to be any. It is to be none at all. It is a lyrical mission. Its a tumble dreams in cataracts. It is a journey. it is a stunning ritual. It is lucidity of a gray tone. It's Resignation and glory. It's The Queen and the hunchback. And it is the Life as it is. According to Lehn and Krauss (2002), an artist is a person who expresses ideas, expresses feelings, and learns about materials, control composition, practices skills, is a problem solver and studies nature. (http://vencann.com). To read a work of art, it is relevant to understanding the life and work of the artist. It will be focused in this study a brief reference to the life and work of Pablo Picasso

Pablo Picasso (1881-1973)


Born in Malaga, Spain, Pablo Picasso is probably the best-known and most influential artist of this century. Picasso's painting began late in the nineteenth century, and he went through a couple of phases (the "Blue Period" of c.1901-4, the "Rose Period" of 1904-6) before developing the principles of Cubism, along with Georges Braque, around 1907-8. Picasso did not limit himself to painting, exploring other media such as collage, sculpture, and pottery, designing sets for the stage, and other endeavours.

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Cubism - a view from multiple angles


To classify the Cubism as a precursory movement of design is an analysis that is based on the reaction that the style caused in the art of the beginning of XX century, originating other movements that would culminate in the appearance of the design activity and also in the influence that is kept until the current days in graphical design. The Cubists not only changed the course of painting - it had a direct influence on the future of the printed page. When Picasso and Braque had abandoned the three-dimensional illusion and reset in the painting the two-dimensional plan, had established design as the main element of the creative process. When gluing together in its canvas printed fragments and labels, they had [Type the company name] | INDIVIDUAL ASSIGNMENT 4

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suggested new ways to combine images and to communicate ideas. In addition, the use of letters stamped or engraved in his paintings, opened new possibilities for typography, (Hurlburt, 1977: 18). The possible relationships between hypermedia and this particular branch of modern art can arise in two issues: a graphic design that is used in the composition of visual elements of a graphical interface that goes through similar steps in the design of printed pages. The other possible question with more specificity appears in every movement. In the case of Cubism, it is in abandoning the illusion of three-dimensional representation for the two-dimensional plan and the assembly process and collage images through the juxtaposition of elements. In 1907, with Les Demoiselles d'Avignon, Picasso initiates the cubist style and a possible analysis of the framework is the attempt to describe the passage of the rose period to Cubism. This is the search for the origins of the inspiration of Picasso, while visiting an exhibition of African masks and he finds there a solution to the problem he was trying to solve: the crisis of European culture. Picasso was not the first to discover the Negro sculpture; it had already reached the Fauves and the Expressionists, following in the footsteps of exoticism and primitivism of Gauguin. But it was a way to evade the historical problem, and the historical problem was not the Negro sculpture, and yes, the crisis of European culture, forced to seek new models of value out of their own field, (Argan, 1992: 426).

LES DEMOISELLES D AVIGNON (1907) DE PABLO PICASSO

Source: Adapted from Harrington (2004, p50)

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In developing the project with a cultural value, something more than free speech, the painting of Picasso won the functional value described by Argan (1992). The way the style is built comes from the fusion of African sculpture and Europe painting. In a two-dimensional screen, it is quite possible that the reproduction of a mask as a model of reality will also need the illusion of third dimension and originated a mere copy of the black art, as the reproduction of an alive model or a dead nature. What occurs is the fusion of the three-dimensional sculpture with the painting in a two dimensional plan. Outstanding characteristics of this work are the aggressive angles and contours, with almost primitive influences; a definition of two dimensional sculpture is in the description of the trace used by Picasso in this work, according to Buchholz (2001): "as if cut with an axe" and the lack of volume in the structures of the represented women bodies, and more, their bodies displayed at the same level than would be the background, eliminating the illusion of third dimension. The starting point is located to the revolution in 1907, just under Les Demoiselles d'Avignon, exhibited at the Museum of Modern Art in New York, although definitely not a cubist painting showed high affinity with the primitive Egyptian art and African, much more than Western art. In this context Picasso levelled the surface of the screen, minimizing the illusion of third dimension, and replaces it with aggressive contours and angles to traditional pictorial representation. (Hurlburt, 1977: 13). Hurlburt (1977) rate this picture as "not yet definitely a cubist painting," probably see as the most important cubist characteristic and also as a major influence on the design process of collage. As mentioned, to Hurlburt (1977), the Cubist painters' set design as the main element of the creative process. When sticking together in its painting printed fragments and labels, they had suggested new ways to combine images and to communicate ideas. This process originates in Synthetic Cubism, which was a second stage, arising out of Analytical Cubism, which Picasso and Georges Braque began after Les Demoiselles d'Avignon. Similar features are found and to differences within the two subdivisions of the movement. What is important to highlight for this research is the possibility of dissociation of the role of the artist / author and the relationship between co-authored hypermedia in the style and also for the visual design interface. Faced with this situation, there is no need to ask what it represents, but it works. Nor who did it: The question presupposes the prejudice that it represents the inner world, the individuality of the artist. Today, retrospectively assessed, it can perhaps see that the emphasis on analytical Picasso frameworks it is the plastics factors, and in Braque is the chromatic factors. Much more important is to observe what they have in common: 1) The non-distinction between images and background, the elimination of succession plans at a depth illusory; 2) The decomposition of objects and space in a single structural criterion, the design of the structure not as a skeleton or frame fixed, but as the formal process of aggregation; 3) The overlap and juxtaposition of multiple views from different angles, with the purpose of presenting objects not only to show themselves, but also as they are, that is, not only in appearance that have a particular point of view, as between their structure and the structure of space; 4) Presenting successive images simultaneously in space in time, it makes an absolute spacetime unit (the fourth-dimension), the way the same object may appear at various points in space [Type the company name] | INDIVIDUAL ASSIGNMENT 6

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and space can be developed not only around, but also in and through the object. (Argan, 1992: 302). Dissociation of the artist / author role is in the analysis of Argan, the point at which the author questions about the need to not ask what the picture represents, but as it works. Here the process is beyond representation. It is the beginning of the constructivist process, which puts Hurlburt (1977) in establishing "design as the main element of the creative process". In previous analysis of Argan (1992), saying that "do not ask who did it," is the manner in which the frame is displayed and interpreted that matters. Visualization and the observer's interpretation of the work happen in the representation by the artist, from various angles and plans, decoupling the work of an individual look and "presenting not just as objects are shown, but they are". This means at the same time that inviting the viewer to a loop around the object also provide the setting for this observer's point of departure and arrival in the loop.

CONCLUSION
This study sought to show that man has always been in contact with art. He always had art as a way of expressing their rites, beliefs, desires. According Buoro (1998, p. 23), one of the earliest references of human life on Earth appears in the images drawn in caves, which we now call artistic images. The artist, in his doing, builds, and expresses his feelings known about reality. Art is expression of life. It represents life. Art is a constructive operation an act of forming and transforming the signs of nature and culture. Art is the transfiguration of reality. It started from the assumption that art is one of the most direct forms of human expression, therefore, know and learn about art is fundamental to the development of man as social being aware of its relevance as author of its own history and character of the active context society where he belongs. Along this line, Ferraz and Fusari (1993) explain that art is important because of the crucial role it plays in people's lives and in society since the dawn of civilization, making it one of the essential factors of mankind. Art contributes to the educational work, because through their languages can boost intelligence, contributing to the formation of the personality of the individual, enhancing the perception, imagination, observation and also help in understanding the world around us.

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References
ARGAN, Giulio Carlo. (2002): Modern Art. Ballantine Books BARBOSA, Ana Mae. (1991): The image in art education. Perspective / Iochpe. BUCHHOLZ, Elke Linda. ZIMMERMANN, Beate. (2001): Pablo Picasso MiniGUI Art, Lisbon, Knemann. BUORO, Anamlia B. (1998) The look on construction, Cortez. FELDMAN, E. (1991) Comparative Method Analysis of Works of Art. In: Barbosa, Ana Mae. The image in art education. FERRAZ Maria and Fusari Maria (1993): Teaching Methodology of Art, Cortez. Harrington, Austin (2004): Art and social theory: sociological arguments in aesthetics WileyBlackwell HURLBURT, Allen. Grid (1978): A modular system for the design and production of newspapers, magazines and books. New York. John Wiley & Sons, Inc. Lehn Barbara and Krauss Carol (2002): What is an artist? Millbrook press MANGUEL, Alberto. (2001): Reading image: A story of love and hatred.Traduction Rubens Figueiredo, Rosaura Eichemberg, Claudia Strauch - Ballantine Books. MARTINS, Mirian Celeste Ferreira Dias. (1998): Didactics of art education: the language of the world: poetize, enjoy and learn about art. FTD. PETRY KEHRWALD, Isabel. (2001): Read and write in visual arts. In: NEVES, Iara et al. (Eds.). 4. ed. Reading and writing: commitment to all areas. UFRGS Editor.

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