Picasso's paintings, especially those from his Cubism period, are about perspective, or more accurately, experiencing one scene from multiple perspectives. His achievements in painting, sculpture printmaking and photography make one wonder about what he would do with virtual reality, augmented reality or 360VR.
In thinking about this, I discovered a book by Arthur I Miller, entitled Einstein, Picasso: Space, Time and the Beauty that Causes Havoc. The New York Times features the book and begins with the following quote:
Everything is possible, everything is realizable, in all and everywhere.—André Salmon
The following two paragraphs from Mr. Miller's book define Picasso's world and how he might have perceived the concept of space:
Ideas were everywhere and so was the desire for change. Alongside the developments in mathematics, science and technology was the discovery of the conceptual quality of African objets d'art. All of these ideas helped Picasso to free himself from earlier modes of thinking. Everyone involved in cubism considered it a highly intellectual adventure with the specific goal of reducing forms to geometry. Picasso's exploration of space in his groundbreaking Les Demoiselles d'Avignon employed notions of four-dimensional space described to him by Maurice Princet, an insurance actuary interested in advanced mathematics and a member of la bande à Picasso.
In the intellectual atmosphere of 1905 it is not surprising that Einstein and Picasso began exploring new notions of space and time almost coincidentally. The main lesson of Einstein's 1905 relativity theory is that in thinking about these subjects, we cannot trust our senses. Picasso and Einstein believed that art and science are means for exploring worlds beyond perceptions, beyond appearances. Direct viewing deceives, as Einstein knew by 1905 in physics, and Picasso by 1907 in art. Just as relativity theory overthrew the absolute status of space and time, the cubism of Georges Braque and Picasso dethroned perspective in art.
From: re:artist at https://reartiste.wordpress.com/2015/10/25/picasso-and-photography/
It has thus been established that Picasso was already using the camera in the early years of the century, actually developing his own prints, and that this practice went hand in hand with the pictorial evolution of the Cubist revolution. – Anne Baldassari, curator at the Musée Picasso, Paris
Over the decades, Pablo Picasso pursued his research of creative resources of photography in various ways: he was combining photography with drawings, prints, engraving on glass. One of such examples can be Pablo Picasso’s painting of his wife, Olga Khokhlova: “Portrait of Olga in an Armchair”, oil on canvas, made in 1917. It was most likely painted from a photograph taken also in 1917. Russian ballerina Olga Khokhlova married Picasso in 1918.
Today, we have remarkable photographic records made by Brassaï and Gjon Mili of Picasso’s ephemeral work – “drawing with light”. Those “spatial sketches”, ethereal sculptures made in luminous pencil, as well as variations on the photogram technique and photo cutouts with André Villers can be found in Picasso’s archives in Paris.
Back to virtual reality. A virtual reality project is a team effort. In the privacy of his studio, Picasso could use canvas, clay and film to create records of what he was thinking. VR usually requires a production company. With VR, I believe that Picasso would best express himself as a set designer, as an artist of the theatre. Picasso had worked like this before: Portrait of the Artist as a Set Designer, an article in The Guardian.
Imagine: Picasso + Cirque Soleil + VR...
The image used at the top of the post is by Gjon Mili. This photo and the others used in this post are used only for educational purposes.