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Picasso’s Les Demoiselles d’Avignon , Picasso 1907 was regarded for an entire century as the paradigm of modernism and has been analysed as such by most art history methodologies. Criticism of the work has shaped what we term as the mainstream discourse of modernism. The most recent approaches, from feminist and postcolonialist criticism (including “subaltern studies”), represent a genuine deconstruction of the hegemonic modernist discourse. This paper offers a detailed analysis of the main facets of this new criticism.

Los discursos poscolonialista y feminista sobre el arte moderno: la crítica de Les Demoiselles d’Avignon