physiological condition connects such diverse artists as Robert
Rauschenberg, Pablo Picasso, Leonardo, Chuck Close and Andy Warhol:
dyslexia. Dyslexia shaped the perception of their surroundings. This
visual disorientation resulted in an inability to separate easily a
central object from surrounding ones, so that they were not able to
establish a visual hierarchy.
focus on Robert Rauschenberg and Pablo Picasso. Robert Rauschenberg
once said: “Painting relates to both art and life.” I will
consider this in relation to his dyslexia and his tendency towards
three-dimensionality. He probably reached the acme of his work with
“Combines” (1953-62, Combines' heroic period), in which his
visuospatial perception resulted in the development of his creative
techniques and of his studio practice. Picasso similarly did it, with
his first collage, “Still-life with Chair
Caning”, in Spring 1912.
chosen “Still-life with Chair Caning”, because this example of
High Analytic Cubism stands out when considering his work. Bearing in
mind his subsequent collages and papier
collés, evocative sense of ambiguity
and illusion are reduced to a minimum level. The shape of fragments
of various materials is not the medium by which the object is
identified; indeed, the patterned oilcloth conveys a substantial
physicality. The oilcloth is relevant for its materiality, not its
shape. Furthermore, looking at the boat-rope, the trompe-l'oeil
effect is restricted to the use of the rope as a frame for the oval
format of the painting. The rope is definitely nothing more than a
rope per se, which is an integral part of the painting and still
encloses somehow the other elements.
rope was directly
collected from reality, in order to become the material remembrance
of Picasso's stay in Le Havre, a material souvenir.
The pictorial space shares a situation comparable to Rauschenberg's
one, namely the simultaneity of past time. The mental space of memory
is rejected, for the benefit of the materialised image like real
objects in an external space. Every personal experience and emotional
event is immediately seized upon and offered to the public domain,
under the form of physical objects.
scientific explanation allows me to say that these creations were the
accomplishment of the objectives of their own research. These pieces
reveal their own creative strategy, which makes them feel at ease
among an innumerable amount of simultaneous visual stimuli. This
allows the once disoriented audience to view them through the
artists’ eyes. Through their creative strategy, they reoriented and
reassembled the objects of their vision. Objects of everyday life -
a sort of ready-made - were included in the pictorial field of their
canvases. The objects, themselves, structured their own composition
and merged with the background. There is no fixed distinction in the
layering of levels; the visual schemes cannot permit it.