The (joy of life) and Picasso’s Les Demoiselles d’Avignon can be simultaneously seen as inspired by and breaking free of Paul Cézanne’s, because the joy of life It is a large-scale painting that has a brilliant colored forest which has been depicting an Arcadian landscape filled with, meadow, sea, and sky and populated by nude figures both at rest and in motion while Picasso’s Les Demoiselles d’Avignon has sensual eroticism with these kinds of aggressively crude pornography that has a landscape of a blue nude of five prostitutes from the actual brothel, which is located on a street which is called by the name Avignon in the street with a red-light district in area of Barcelona, now the Picasso’s Les Demoiselles d’Avignon and Matisse’s Bonheur…show more content… The show at MoMA makes it clear that such categories can’t contain these artists and may only obscure what modernism is all about." ( Smithsonian n,d 2017 ), Paul Cézanne’s, The Large Bathers. Refer to specific visual references as "The bottle looks tipsy and the cookies are very odd indeed. The cookies stacked below the top layer seem as if they are viewed from the side, but at the same moment, the two on top seem to pop upward as if we were looking down at them. This is an important key to understanding the questions that we've raised about Cézanne's pictures so far. Cézanne pushed this distinction between the vision of the camera and of human vision. He reasoned that the same issues applied to the illusionism of the old masters, of Raphael, Leonardo, Caravaggio, etc. For instance, think about how linear perspective works. Since the Early Renaissance, constructing the illusion of space required that the artist remains frozen at a single point in space in order maintain consistent recession among all receding orthogonal. This frozen vantage point belongs to both the artist and then the viewer. But is it a full description of the experience of human sight? Cézanne's still life suggests that it is