In the spring and summer of 1906, while visiting the rural village of Gósol in the Spanish Pyrenees, Picasso executed his first woodcut, made two sculptures out of boxwood, and began to focus on the topoi of wood and the forest as avatars of primal matter and of that which lies beyond civilization. In a subsequent series of paintings, he used wooden supports for images that depict male and female heads that look as if they had been chiseled out of wood. Others represent nude figures in forest settings, with explicitly sexual gestures and poses connoting a range of attitudes. These little studied works provide an optic into Picasso’s early exploration of the emergence of sexual identity as an inner psychic state, but one whose signs can be read through the body. Later, responding to the proliferation of cheap, industrially produced materials, including trompe l’oeil woodgrain wallpaper, Picasso began to treat woodgrain as a mere surrogate, one that marks its distance from actual wood through a variety of painterly and mechanical effects. No longer associated with “primitive” authenticity and the primordial forces of the forest, woodgrain now appears as a false sign open to conceptual play and metamorphosis.

中文翻译：

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从原始物质到替代饰面：毕加索立体主义中的木材和人造树林


1906年春夏，毕加索在参观西班牙比利牛斯山脉的戈索尔乡村时，创作了他的第一幅木刻作品，用黄杨木制作了两件雕塑，并开始关注木材的拓扑结构和作为原始物质化身的森林以及超越文明的事物。在随后的一系列画作中，他使用木制支架来描绘男性和女性头部的图像，看起来就像是用木头凿成的。其他作品则描绘了森林环境中的裸体人物，带有明显的性姿势和姿势，暗示着一系列态度。这些研究较少的作品为毕加索早期探索性别认同作为一种内在的精神状态的出现提供了一个视角，但其迹象可以通过身体来解读。后来，为了应对包括错视木纹壁纸在内的廉价工业生产材料的激增，毕加索开始将木纹视为一种纯粹的替代品，通过各种绘画和机械效果来标记其与实际木材的距离。木纹不再与“原始”真实性和森林的原始力量联系在一起，现在看起来像是一个错误的标志，可以进行概念游戏和变形。