Sign and Symbol in Picasso

Writers on the semiology of Cubism have often cited Daniel-Henry Kahnweiler’s 1946–48 descriptions of Cubism as a form of writing. They seem, however, to have overlooked Pablo Picasso’s 1945–48 statements about art as a sign language. The first section of this essay argues that Kahnweiler was in fact inspired by Picasso’s statements. The second section retraces the origins of semiology in nineteenth-century philology, its revival by Claude Levi-Strauss, his influence on critical theory, the rise of a semiological interpretation of Cubism, and the problems with this interpretation. The third section links Picasso’s 1945–48 statements about art as a sign language to his contemporary visual work; specifically, to his illustrations for Pierre Reverdy’s book of poems Le Chant des morts. The idea of art as a sign language is traced to Picasso’s 1924 drawings of “star charts” or “constellations”. However, Picasso’s 1945–48 designs using a similar vocabulary are analyzed as signifiers without signifieds—that is, as symbols, rather than signs.