Instead, the series is mostly lauded as an expression of man’s virility, power, and vulnerability, culminating in a guilty appeal to our sympathy-Picasso as the self-mythologized (and self-aware) monster, a victim of both himself and of the women he regarded as “either goddesses or doormats,” and “machines for suffering.” Honestly, these days, it’s pretty hard to feel bad for a guy who draws a mythologized version of himself as a “beast” literally raping women on countless occasions.Īnd yet, institutions and critics have continuously normalized and perpetuated an interpretation of Picasso’s work in purely academic terms, comparing his work's influence on every other possible male contemporary for the umpteenth time. If women truly ran the world, Picasso’s Minotaurs might be, from the fore, considered a very detailed psychological account of toxic masculinity.
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