'Hideous': The controversy over Picasso's most shocking painting

The confrontational painting Les Demoiselles d'Avignon has been both widely despised and loved, and over the decades has remained contentious. A century after it was created by Picasso, acclaimed US artist Henry Taylor reinterpreted and challenged the piece – and his version is now at the centre of a major exhibition at the Musée Picasso in Paris.

In 1907, Pablo Picasso invited a small circle of artists and friends to his studio in Paris. He wanted to show them a painting he had been working on for six months. Almost unanimously, the reaction from his peers was shock, horror and disgust. The French painter Georges Braque reportedly compared the experience to drinking petrol, and Henri Matisse is said to have called the women in it "hideous". It wouldn't be shown publicly until 1916, almost a decade later.

More than a century on, it has become one of Picasso's most recognisable and controversial works. It has also been reinterpreted by the acclaimed US painter Henry Taylor. His version is currently displayed at a major exhibition at Musée National Picasso in Paris, and Taylor emphasises a key point about the earlier painting: it owes a lot more to African art than Picasso ever liked to admit.

The painting Picasso had shown his peers was Les Demoiselles d'Avignon (1907), a large oil painting in which five nude women in a brothel in Barcelona demand the viewer's attention. Two of the women have mask-like faces, three stare back at the observer, and all have jagged, disjointed bodies. It marked a sharp turn in Picasso's creative journey and a dramatic departure from the artistic norms of the time.

"Picasso moved away from emotional, figurative painting toward breaking forms apart and rethinking how space and bodies are shown," Joanne Snrech, a curator at Musée National Picasso, tells the BBC. "This shift was key to the development of Cubism and modern art more broadly." 

Les Demoiselles d'Avignon (The Young Ladies of Avignon) was initially named Le Bordel d'Avignon (or The Brothel of Avignon) until 1916, when the title was changed to be less contentious. It is considered a fundamental work in the birth of Cubism, the 20th-Century art movement known for abandoning traditional, realistic forms of representation in favour of fragmented and geometric shapes.

As Picasso did in the Demoiselles, Cubism merged multiple vantage points of an object or person into a single image. "Part of what made the reaction so strong is that Picasso didn't just change one thing: he changed everything at once," Snrech says. "Even for artists who were already experimenting with new styles, this felt like a step too far." 

But Picasso's innovations didn't come out of nowhere. Some of them, it could be argued, came straight from Africa.

Months before creating this painting, Picasso had developed a particular interest in African masks and sculptures, spurred by a small figurine – from what is now the Democratic Republic of the Congo – that Matisse had purchased in Paris in........

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