The Synesthetic Language of Picasso: Exploring Emotions and Sensations in His Art

Abstract

This review article adopts an interdisciplinary approach in analyzing Picasso’s synesthetic experiences and a transformative glaze on his artwork. It integrates and analyses the methods from different disciplines through Art Historical Analysis. It explores Picasso’s paintings in various phases and investigates possible synesthetic perception by observing patterns of colors, forms, and compositions. Neuroscientific Approaches are incorporated to explain how the sensory input of the receiver could have triggered a cross-modal effect in Picasso’s work by exploring the concepts of synesthesia. Psychological interpretation explores the psychological theory of feeling and investigates how Picasso’s feeling processes are associated with synesthetic feeling and his creative decision-making processes. This article includes a literature review that explains the purpose of positioning Picasso’s synesthetic artwork in the broader context of synesthesia and the theories of art. Due to this kind of multidisciplinary approach adopted in work, the richness of Picasso’s synesthetic imagination can be examined more profoundly, and the interactions between experience, feeling, or even mood of the artist with their art can be reconstructed in detail. In this context, synthesizing findings from the multi-disciplinary literature, this paper offers a novel insight into Picasso’s synesthetic imagination and a holistic understanding of artistic innovation.

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American Journal of Multidisciplinary
Research and Innovation (AJMRI)
The Synesthetic Language of Picasso: Exploring Emotions and Sensations in His Art
Koncha Pinos1*
Volume 3 Issue 4, Year 2024
ISSN: 2158-8155 (Online), 2832-4854 (Print)
DOI: https://doi.org/10.54536/ajmri.v3i4.3236
https://journals.e-palli.com/home/index.php/ajmri
Article Information ABSTRACT
Received: June 19, 2024
Accepted: July 25, 2024
Published: July 29, 2024
This review article adopts an interdisciplinary approach in analyzing Picasso’s synesthetic
experiences and a transformative glaze on his artwork. It integrates and analyses the methods
from different disciplines through Art Historical Analysis. It explores Picasso’s paintings in
various phases and investigates possible synesthetic perception by observing patterns of
colors, forms, and compositions. Neuroscientic Approaches are incorporated to explain
how the sensory input of the receiver could have triggered a cross-modal effect in Picasso’s
work by exploring the concepts of synesthesia. Psychological interpretation explores
the psychological theory of feeling and investigates how Picasso’s feeling processes are
associated with synesthetic feeling and his creative decision-making processes. This article
includes a literature review that explains the purpose of positioning Picasso’s synesthetic
artwork in the broader context of synesthesia and the theories of art. Due to this kind of
multidisciplinary approach adopted in work, the richness of Picasso’s synesthetic imagination
can be examined more profoundly, and the interactions between experience, feeling, or even
mood of the artist with their art can be reconstructed in detail. In this context, synthesizing
ndings from the multi-disciplinary literature, this paper offers a novel insight into Picasso’s
synesthetic imagination and a holistic understanding of artistic innovation.
Keywords
Pablo Picasso, Synesthesia,
Neuroaesthetics, Multidisciplinary,
Cross-Modal Association, Art
History Analysis
INTRODUCTION
Synesthesia is a true connection between two or more
different sensitizing and cognitive operations in which
the stimulation of one causes an automatic effect in the
other. At times, various kinds of synesthesia occur in
specic contexts, for instance, cochleotopic individuals
who perceive colors and shapes in their mind’s eye when
listening to music (Adiletta & Thomas, 2020). This
condition enables them to self-generate and experience
music as if it is a visual art that combines two senses –
auditory and visual – in a synchronal way. It is a concept
that has always been considered by art and science as
an unusual perception of reality that interconnects
the senses and has been inspiring interest for decades
(Jewanski et al., 2020). This article deals with the basics
of synesthesia, its connection with the phenomenon of
sensory perception, neural mechanisms, and art, paying
attention to the possible synesthetic experiences of
Picasso and the impact of his work in this eld.
Presentation of the Theme
Synesthesia is an interesting interconnection between
two or more senses in which the activation of one sense
results in the engagement of other senses in a rather
peculiar manner (Brang & Ramachandran, 2020). This
state of the sense’s interconnection brings into question
the basic functions of human perception and our
brain’s ability to interpret the surrounding environment.
Moreover, sensory perception is relevant when analyzing
an experience because this term describes how an
organism responds to stimuli and organizes information
from the senses into a unied whole (Klempe, 2022b).
Synesthesia as the Key Element in Art and Neuroscience
In Klempe’s chapter titled “Sound and Reason: The
‘Synesthesia as Metacognition,’ Klempe focuses on the
synesthesia experience and the role of sound, especially
with the inuence of Gestalt psychology(Klempe,
2022a). He qualies that synesthesia is personal and
might have a general cognitive role relevant to everyone.
Interestingly and rather convincingly, Klempe concludes
that synesthesia is a primary sorting mechanism essential
for higher-order processing. He stresses that synesthetic
experiences are not constrained but points at how and
why every synesthete builds a different system with
limited freedom within neurological structures. As per
Klempe, the rules systems for language, logic, music,
and other cognitive areas are built in interaction between
an individual synesthetic categorization system and the
regulation systems of the cultural community (Klempe,
2022a). Thus, the eld of synesthesia opened a very
colorful and complex perspective for artists to transgress
the conventional antique norms and rules of aesthetics and
emotions and open up new horizons for practicing creativity
with innovative forms and types (Florea & Cojocaru, 2021).
At the same time, though, as a neuroscientist, one cannot
deny that synesthesia is an interesting subject to study
about sensory integration and how idiopathic connections
in the brain may affect perception.
Objectives of the Article
The main goal of this article is to investigate synesthesia
and special perception in the framework of art analysis,
together with a focus on works by Pablo Picasso.
Symptoms of synesthesia in Picasso’s life and works
1 The Wellbeing Planet, Al Nakheel, Ras Al Khaimah, United Arab Emirates
* Corresponding author’s e-mail: direccion@thewellbeingplanet.org

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and the role of the individual sense perception in
forming an innovative approach to art will be analyzed
(Igorevna, 2022). Further, the present day’s neurological
ndings concerning synesthesia and concern showed that
improving clarity in creativity and perception in art shall
be covered.
METHODOLOGY
Overview
With a focus on synesthesia, this review combines several
elds of science (multidisciplinary approach) to study
how it relates to human sensory perception understanding
from perspectives like neurobiology and art, along with
highlights of Pablo Picasso’s work as a creation (Fiorillo,
2020). One avenue to explore the effects of sensory
inter-areal neural processes on creativity is through a
phenomenological condition known as synesthesia,
where stimulation of one sense results in involuntary
experiences involving another.
What is Synesthesia
Synesthesia is a neurological disorder in which the
actions of one sensory or cognitive system cause
automatic experiences of another sensory or cognitive
system (Lorusso et al., 2022). This neurological quirk
ushers in a singular communication between senses,
thwarting one’s concept of how the brain receives
stimuli. Synesthetic perceptions are congruent and highly
practiced; synesthetic experiences without having to be
cautious about it, and these perceptions do not change
with time (Benítez-Burraco et al., 2023). To enhance the
understanding of this phenomenon, it is necessary to
reveal its nature and how it can be observed in the sphere
of perception (Hamada et al., 2020).
How Does It Work
In other words, synesthesia works so that when a certain
stimulus from one modem of sensory is activated,
another modem of sensory will have a corresponding
reaction. It is marked by continuous and automatic
cross-wiring of sensations so that stimuli in one sensory
stream can induce perceptions in another. For instance,
some people may see graphic-color synesthetic, where
letters or numbers should be associated with colors. In
the same way, in sound-color synesthesia, one sees colors
and shapes as music or sound is played (KIHARA et al.,
2024). These connections are personal and particular to
every synesthete and may create an elaborate real-world
description (Meier, 2021).
Each type of synesthesia is characterized by its unique
pairings of sensory or cognitive processes, and these
associations remain consistent over time for individuals
who experience them.
Denition and Explanation of the Phenomenon
Synesthesia is a rather interesting neurological condition
in which the stimulation of the rst sensory or cognitive
area results in an automatic and uncontrollable stimulation
of the second sensory or cognitive area (Hamada et
al., 2020). Synesthesia is a neurological condition in
which stimulation of one sensory or cognitive pathway
leads to automatic, involuntary experiences in a second
sensory or cognitive pathway. For instance, a person with
synesthesia may see color in letters and smell tastes in
quintuplets (Williams, 2022). This condition exemplies
interesting properties of how the brain integrates sensory
information and processes neural signals.
The Neurobiological Roots of Synesthesia
Neural Mechanisms
Cross-Activation and Connectivity
Research shows that synesthesia is associated with unusual
forms of activation in the brain between different sensory
areas (Van der Schyff et al., 2022). For instance, reading
letters or numbers might activate brain regions usually
used to process color perception.
Imaging Shows Structural and Functional Differences
Imaging studies of the brain have demonstrated that
synesthetes use a different cognitive process. They can
also observe structural and functional differences in
their brains, which are organized differently from non-
synesthetes brains (Laeng et al., 2021). These differences
often mean a breakdown in the division of labor among
regions that process different sensory modalities.
Neural Plasticity
The brain’s “neural plasticity” provides an extraordinary
justication for the phenomenon of synesthesia. This
means that neural circuits can also be signicantly
reorganized through sensory input and experience in
adults (Sotiropoulos & Anagnostouli, 2021).
Experimental Research
Behavioral Studies
In experiments usually performed on synesthetes,
behavioral activities are required for the synesthetes to
describe their experiences. This will enable a closer focus
on the replicability and distinctiveness of the perceived
synesthesia (Ward & Simner, 2020).
Brain Imaging Techniques
Functional magnetic resonance imaging (fMRI),
electroencephalography (EEG), and other techniques reveal
active areas during synthetic experience. Understanding
synesthesia mechanics may aid in the understanding and
treatment of various neurological diseases characterized
by abnormal sensory processing (Ward, 2021). Recent
research suggests that early synesthesia reveals how our
brains interpret information differently.
Types of Synesthesia
Analyzing the identied subtypes of synesthesia, it
is possible to state that regardless of their numerous
recognized forms, they are mostly distinguished by the
variation of the involved sense (Trufanova, 2024).

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Most Prominent Types
Grapheme-Color Synesthesia
Certain letters, numbers, or words in this type select a
certain hue. For example, the initial letter of the alphabet,
‘A,’ is connected with the synesthete mind as red (Hamada
et al., 2020).
Sound-Color Synesthesia
Sounds, music, or tones trigger the experience of colors
or visual patterns. For example, hearing a piece of music
may perceived as a vivid green color (KIHARA et al., 2024).
Number-Form Synesthesia
Numbers represent mental maps or geographical
congurations. Synesthetes may envision numbers
arranged in precise spatial patterns, such as a mental
number line (Makioka, 2021).
Lexical-Gustatory Synesthesia
Words or phonemes evoke taste sensations. Hearing or
reading certain words may cause the person to experience
distinct tastes in their mouth (Ward & Simner, 2020).
Spatial Sequence Synesthesia
Sequences such as numbers, months of the year, or days
of the week are perceived as having a spatial arrangement
(Gravener, 2021).
Auditory-Visual Synesthesia
It includes seeing colors, shapes, or patterns in reaction to
auditory provocations like music or sounds. Each musical
node may correspond to a specic visual experience (Nair
& Brang, 2019).
Visual-Gustatory Synesthesia
Undergoing tastes or avors based on visual spurs such as
colors or shapes. Certain visual cues activate the sensation
of specic tastes (Chen et al., 2019).
Tactile-Emotional Synesthesia
When experiencing or reecting on emotions, you
may feel textures or physical sensations. Emotional
experiences can be expressed as tactile sensations such as
roughness or smoothness.
Each kind of synesthesia is distinguished by its distinct
pairings of sensory or cognitive processes, and these
associations stay persistent throughout time for those
who experience them (Murray, 2021). Synesthesia offers
a vivid example of the brain’s ability to link and integrate
information across different senses in unconventional
ways, providing unique perceptual experiences to those
with it.
Patterns of Synesthetic Experiences
These examples show the different experiences a
synesthete can have apart from hearing and seeing; they
show how these senses a be wired up in a way that can only
be described as synesthetic (Spehar & Stevanov, 2021).
Emotional Responses and Colors
Sometimes, synesthetes feel emotions and personalities
in certain colors. For example, they could associate
happiness with the color yellow or excitement with a
bright, bright orange.
Taste and Words
In certain situations, synesthetes can associate certain
words or certain sounds with undenable tastes. For
instance, if the word formed is ‘coffee,’ then, in their
understanding, it can be related to the taste of chocolates.
Textures and Sounds
Hypothesis for a synesthetic couple: one texture might
cross-modally correspond with a sound. Thus, a sound
comparable to that of a ute is likely to be described as
possessing velvet-like characteristics as opposed to a sound
produced by a trumpet; such sound might be compared to
the roughness of sandpaper (Haag & Castillo, 2021).
Smells and Shapes
Some people associate odors with shapes or touches. For
instance, the width may be felt by the smell concerning
cinnamon, which may be linked to whirling designs or
even spikes.
Time and Spatial Layout
Time units, such as days of the week or months, can be
perceived in specic spatial arrangements. For example,
the week might appear circular daily at particular points
around the circle.
To clarify the synesthetic experience, let’s contemplate
the case of someone who experiences auditory-visual
synesthesia. When people hear a tune, they can see bright
colors and shapes in their minds that correspond to
different musical notes (Chen et al., 2019). For example,
the high pitch of a violin can manifest as a bright blue
color, while the low pitch of a bass can be perceived as a
deep red color. This sensory connection is constant and
coherent for the synesthetic person and is integral to how
they perceive music and the world around them (Klempe,
2022b). Synesthesia is a neurological phenomenon in
which stimulation of one sensory or cognitive pathway
leads to automatic, involuntary experiences in another
unrelated path. For instance, when someone hears music,
they might simultaneously see or associate specic colors
with numbers or letters. It’s like having “wires crossed”
in the brain, causing sensory crossovers that most people
don’t experience (Spehar & Stevanov, 2021). Synesthetes
perceive the world through multiple senses or perception
abilities that aren’t otherwise related.
How Does It Work
In typical sensory processing, our senses detect
information from the environment, signal the brain, and
undergo processing. Synesthetes, however, experience
simultaneous processing through two or more areas
(Hamada et al., 2020).

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Here’s How It Unfolds
Primary Effect
Synesthetes perceive the sensory provided input (for
instance, music).
Secondary Effect
For instance, they experience other feelings (e.g.,
perceiving colors from music) even when the related
senses are not involved (Hamada et al., 2020).
In Typical Sensory Processing
Detection
Receptors or sense organs in the organism detect
environmental stimuli through the ve basic senses: sight,
sound, smell, taste, and touch.
Signaling
Both send information that informs the brain (for
instance, coloring, shape, and pitch (Cheng et al., 2023).
Processing
These signals are then taken into the brain to areas
that interpret them so that we can make sense of our
environment.
Recent ndings suggest that studying synesthesia can
reveal insights into how our brains process information
differently, especially when it starts in childhood
(Delgado-Lobete et al., 2020).
Relevant Studies and Findings
Unique ring patterns of neurons characterize cohort
members of synesthetes upon being stimulated,
coupled with richer integration of sensory data within
the brain(Kwon & Iedema, 2022). For example, Using
functional MRI, investigators noted enhanced areas of
the visual and auditory regions of synesthetes’ brains
during music listening. From these ndings, it is clear
that synesthesia is not fantasy but a solid neurological
phenomenon characterized by changes in the structure
and functionality of the brain (Castro). Neuroscience
research in this line of study intends to discover how
such associations are formed and maintained to expand
the knowledge of neuroplasticity and the differences in
rates of sensory processing in people.
In “The Tell-Tale Brain,” Dr. V. S. Ramachandran
describes synesthesia as people who perceive the world
through cross-wiring, where they can taste color, see
music, or even feel love as the touch (Kumar, 2020).
This description outlines how synesthesia can alter
conventional ways of perceiving the world and enhance
the patient’s outlook, which might dictate their creative
endeavors or how they engage with their environment.
Researchers have only recently provided increasing
evidence to discuss synesthesia’s neuroscientic
principles based on the complexity and plasticity of
brain organization and functioning as the means to
assimilate sensory data (Karim et al., 2021). Such insights
improve our understanding of synesthesia and widen
the perspectives concerning the multilevel and utterly
dynamic character of artistic perception in general and in
a person in particular.
Synesthesia in Art History
Impact of Synesthesia on Artistic Creativity
Synesthesia, a sensory experience where one sensory
experience prompts another, has signicantly inuenced
artists throughout history. Artists with synesthesia often
create works that visualize their perception of sounds,
time, letters, and numbers (Cho & Lee, 2021). This unique
perspective allows artists to explore and express the world
innovatively. Synesthete artists can translate cross-sensory
experiences, such as seeing colors when listening to music,
into their artworks, reecting the complex connections
between the senses(Cho, 2021). This unique approach
challenges conventional perceptions and evokes intense
emotions in the viewer.
Relationship between the Senses and Artistic
Expression
Synesthetes blur the boundaries between senses, allowing
them to associate colors with sounds, shapes with
tastes, and more. Synesthesia has been documented in
art and literature from ancient Greece to the Roman
Era, with diverse cultural interpretations shaping its
understanding in scientic and artistic communities
(Duarte & Constantinidi, 2022). Scientists have yet to
reach a consensus on the causes of synesthesia. Some
argue this is a series of learned responses, but most point
to a neurological basis. Research reveals uncommon
connections in the adjacent brain regions of synesthetes,
similar to those found in infants. All babies are thought
to have synesthesia until four months of age, at which
point the normal process of synaptic pruning severs
those neural connections (Simmonds-Moore et al.,
2019). This condition, which affects about 4 percent of
the population, is more prevalent in women than men
and appears to have a genetic component (Meier, 2021).
Although synesthesia can manifest itself in various ways,
the most common include color-grapheme, in which
numbers or letters evoke colors, and chromesthesia
(sound-color), where sounds are associated with colors or
shapes. Not surprisingly, synesthetes are eight times more
likely to work in creative elds, and throughout history,
numerous talented artists have been synesthetes.
Examples
Vincent van Gogh likely had chromesthesia, associating
sounds with colors. Wassily Kandinsky linked musical
notes to specic hues, creating iconic abstract paintings
(Igorevna, 2022).
Examples of Synesthete Artists and Their Work
Vincent van Gogh (1853-1890)
Chromesthesia may have inuenced his vibrant,
expressive style. He associated sounds with colors
and found playing the piano overwhelming due to the

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colorful notes (PITTION). Sadly, Vincent Van Gogh
seems to have been one of those synesthetes who was
more affected than beneted by his condition. Research
has highlighted the negative impact of his chromesthesia,
mentioning that when Van Gogh took piano lessons in
1885, his instructor noticed that he associated musical
notes with specic colors. Sadly, his teacher interpreted
this as a sign of insanity and urged him to abandon the
lessons (Ferguson, 2023).
Arthur Rimbaud and Charles Baudelaire
Synesthesia has left a deep imprint on the poetry of
French symbolist poets such as Arthur Rimbaud and
Charles Baudelaire (Jewanski et al., 2020). These writers
used synesthesia as a poetic tool to create vivid and
evocative images that go beyond the conventional.
In “The Drunken Boat”, Rimbaud masterfully fuses
colors, sounds, and physical sensations, taking the
reader on a sensory and emotional journey. Similarly,
Baudelaire employs synesthesia in “The Flowers of
Evil” to explore the duality between the material and
the spiritual, creating images that fuse the tangible and
the abstract into a rich and evocative poetic language
(Lorusso et al., 2022).
Wassily Kandinsky (866-1944)
Several artists believed to have experienced synesthesia
have been highlighted throughout art history, and their
work reects this unique sensory inuence. A notable
example is the Russian painter Wassily Kandinsky(White,
2019). Kandinsky, a pioneer of abstract art, linked music
and color, expressing each musical note through precise
hues in his iconic works. He claimed he could see colors
when listening to music and used this synesthetic
connection to create abstract works that convey
emotions and moods by combining shapes and colors
(Igorevna, 2022).
Olivier Messiaen (1908-1992)
As a French composer, Messiaen associated specic
musical tones with colors and shapes and used these
synesthetic associations in his musical compositions to
evoke visual images and tactile sensations in his listeners
(Palmqvist, 2021). His synesthetic perceptions informed
his innovative compositions, with vivid color associations
to create a multisensory auditory experience.
Billie Eilish, Lady Gaga and Dave Grohl (Founder
of the rock band Foo Fighters)
Both musicians experience synesthesia, visualizing music
in color and structure as LEGO blocks (Ward, 2023).
Picasso’s Synesthesia Experiences and Artistic
Development
Pablo Picasso (1881-1973)
Pablo Picasso may have experienced forms of synesthesia
that inuenced his creative approach and the evolution
of his work throughout his various artistic periods and
the variety of genres he explored (Gage & Grovier,
2023). Synesthesia is divided into two main categories:
biosensors, which involves the crossing of two senses, and
multisensory, which encompasses the crossing of three
or more senses. Within these categories, the individual
variations of the synesthetic experience are endless,
giving each person experiencing it a unique perception
of the world.
Indications of Synesthesia Through His Work
Pablo Picasso’s Blue Period (1901-1904)
During his Blue Period, Picasso explored themes of
melancholy and sadness, using soft blue and green tones
in his works. Possible synesthesia in this period could
manifest in an emotional connection between color and
tactile sensation, such as associating certain tones with a
sense of calm or melancholy (O’Connor, 2021).
Pink Period 1909-1906
In his pink period, Picasso incorporated pink and warm
tones in contrast to the previous blue, exploring a more
cheerful and festive theme (Williams, 2022). Synesthesia
could have inuenced their ability to associate certain
colors with emotions such as joy or vitality.
Analytical Cubism 1909-1912
During Analytic Cubism, Picasso decomposed reality into
geometric shapes and multiple perspectives. Synesthesia
could have manifested in the connection between visual
form and tactile perception, such as representing textures
through abstract shapes (MAHIR’S & GURCAN, 2023).
This is trans-sensory perception.
Synthetic Cubism 1912-1919
In Synthetic Cubism, Picasso incorporated collage
and mixed media elements to create more complex
compositions. Synesthesia could have inuenced
combining brighter colors and bolder textures to convey
tactile and emotional sensations, moving away from
monochromatic and fragmented style of Analytical
Cubism (Wang et al., 2023).
Surrealism and Expressionism 1920 Onwards
In his later years, Picasso experimented with Surrealism and
Expressionism, emerge in 1920s creating more abstract,
and symbolic works. Picassos work during this period
often incorporated dreamy, morphing shapes that evokes a
sense of unreality and psychological depth. (Atkin, 2021).
Surrealism’s aims to access deeper layers of consciousness
(Spiteri, 2019). Expressionism emphasizes emotional
intensity, subjective experience, and form distortion to
convey inner feelings. Picasso’s “Guernica” (1937) is a
powerful example of this style in the Spanish Civil War.
Different forms of Synesthesia in His Work
In the context of Pablo Picasso’s art throughout his
distinct periods, several forms of synesthesia can
be identied that could have inuenced his creative

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approach and the evolution of his work (Iosifyan et al.,
2022). Below, we’re going to explore some of these forms
of synesthesia concerning Picasso’s work:
Synesthetic Art
Picasso experimented with depicting forms and objects
from multiple perspectives during his Cubist period,
creating a trans-sensory perception that challenged visual
conventions. His ability to fuse sensory elements in his
works could be considered synesthetic art.
Synesthetic Images
In many of his works, Picasso creates images that
accumulate a surprising metaphorical resonance by
combining visual and emotional elements in unexpected
ways. For example, in “Guernica,” the combination of
angular shapes and intense colors evokes an emotionally
and visually striking experience.
Literary Synesthesia
Although Picasso was primarily a visual artist, his
collaboration with poets and writers, as in the illustrations
for Max Jacob’s “The 4 Seven,” suggests a connection
between his art and poetic expression or metaphorical
articulation of a sensory correspondence (Earl, 2020).
Synesthetic Metaphor
In many of his cubist and surrealist works, Picasso uses
synesthetic metaphors that exploit similarities between
experiences in different sensory modalities (Zhao et al.,
2022). For example, in “Violin and Cup,” geometric
shapes and colors can be interpreted as a metaphor for
musical harmony.
Kinetic Synesthesia
Although Picasso did not work directly in the kinetic
medium, his interest in the representation of movement
and the dynamics of forms in his works suggests a
sensitivity toward kinetic synesthesia, especially in his
works related to circus, ballet, and dance (Young, 2021).
Synesthetic Canvas
In the contemporary era, technology has created
synesthetic canvases, such as electronic screens that
combine images and sound (Ren & Liu, 2023). Although
Picasso did not have access to this technology, his
experimental approach and interest in the interaction of
different media suggest an afnity with the idea of a mental
synesthetic canvas, which was the basis of his creation.
Conceptual Synesthesia
Throughout his career, Picasso explored conceptual
themes that could provoke a synesthetic experience,
whether through the representation of time, the written
word, the personality of his subjects, or the memory
evoked by his works, for example, through traumatic
events (Poplavskyi et al., 2020).
Picasso Defying the Classical Vision
The challenge of the classical view of perception is a
central theme in synesthetic art and Pablo Picasso’s work,
as both seek to go beyond conventional perception to
explore new forms of sensory and cognitive experiences.
Some Examples
Integration of the Senses
Thus, the essence of synesthesia art and Picasso’s
work combines the senses into one package, which is
opposed to the classical way. While other artistic works
may be employed to impact one sense, these artistic
productions attempt to work along so many of the
senses simultaneously that it becomes more of a sense
experience (Haag & Castillo, 2021). For instance, in
the work of Picasso ‘Les Demoiselles d’Avignon,’ the
decomposition of gures and an attempt at multiple-
dimensional representations make the work demand
spatial and tactile elds with active perception.
Exploration of Perceptual Subjectivity
As the abovementioned synesthetic art and Picasso do,
both challenge the notion of objective reality shared
by everyone in society. Instead, they rely on perceptual
subjectivity since it concerns the exterior world, and
grasping it depends on one’s experiences, moods, and
associations (Bakovic et al., 2022). For example, in works
of the Blue Period, including “La Celestina,” the use of
specic hues, including blue and green, not only serves as
the representation of a certain feeling but also provides
the viewers with the given stimulus for the interpretation
and acquisition of the art piece in terms of the perceptive
egocentricity of the receiver (Conti, 2023).
Deconstruction and Reconstruction of Reality
Nonetheless, synthetic art and Picasso present similar
concepts that deviate from the classical perception of
reality, though in their own way (Yang, 2020). Instead of
simulating reality, these exhibitions employ methods such
as abstraction and distortion and play with the imagery
to unfold different perspectives and interpretations.
For instance, in Picasso’s Cubist paintings, different
decoupages and the representation of multiple visions
deny the existence of a xed and unique vision of the
reality presented, thus encouraging the spectator to
reconstruct it actively (MATSUI, 2023).
Cubism and the Decomposition of Forms
In Cubism, Picasso and other artists focused on depicting
gures and objects from different positions and at once
in various planes. For instance, in “Still Life with Grid
Chair,” painted in 1912, Picasso breaks down the picture
of a chair and other objects into geometric, angular forms
that diverge from the classical representation of realistic
images (Langley et al., 2020). This is not only a cubist
trick with the visual reception of the image but also an
invitation to build the picture with one’s own hands and
reconstruct it in a spatial-tactile way (Brauer, 2023).

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Emotive Colors in Expressionism
Picasso followed expressionism during his expressionistic
stage, where they used intense colors and brush strokes to
express feelings. In pieces like ‘Weeping Woman’ painted
in 1937, dark hues and organic shapes depict sorrow and
pain, defeating art that had adopted optimistic beauty and
balance (Narag & Soriano, 2021). This willful expression
of the state through color and form engages the viewer’s
emotive appreciation and triggers a synesthetic reaction
that fuses vision with feeling.
Collage and the Unication of Disparate Elements
In the collage works, Picasso used juxtaposition and
collage to alter the audience’s perception of how things
are seen individually and how they are seen together
(Güliz, 2022). For instance, in Still Life with Grid Chair
and Glued Papers (1914), Picasso uses glued paper to
create a surface feel and combines different components
to create a piece of work (Langley et al., 2020). This
technique overloads the sense of sight by playing with
the perception and arrangements of objects and calls for
the perception of the artwork not only through the sense
of touch.
Surrealism and the Representation of the Subconscious
Although Picasso did not follow all the principles
of Surrealism, it was this master who inuenced the
movement of representation of the dreamlike and
symbolical. Thus, in works like “The Dream,” painted in
1932, Picasso offers a humorous, illogical representation
that does not correspond to rational thinking and logical
features the audience can decipher and analyze (Spiteri,
2019). Thus, this representation of the subconscious
provokes the viewer’s associative perception and
visualization and creates a synesthetic effect, which
exceeds the possibilities of real reality.
Reection on the Importance of Synesthesia in
Picasso’s Art
Picasso’s art was inuenced by synesthesia, which allowed
him to experience and express the world through multiple
integrated senses (Pirinen, 2020). This ability to associate
colors with emotions, textures with sounds, and shapes
with avors or aromas allowed him to create emotionally
rich and conceptually rich works. This synesthesia
enriched his artistic perception, inuencing his creative
decisions and how he represented reality innovatively
(Sjödin, 2020; Yang, 2020). In conclusion, Picasso’s art
demonstrates the complexity of human perception and
the interaction between the senses in the context of art
and creativity.
Potential Synesthetic Experiences
Some famous artists who reported or were believed to
have had some form of synesthesia include Pablo Picasso,
whose work is said to be associated with synesthesia
(Yang, 2020). The lack of direct evidence of synesthetic
experiences can be explained; however, Picasso’s most
peculiar work, his rather revolutionary approach to the
choice of colors, forms, and composition, alludes to a
possible enhancement in his ability to perceive the world
based on multiple channels.
Impact on Artistic Expression
Picasso’s traditionalist years of the Blue Period, Cubists,
and the conventional style are noteworthy as they
represent a journey that Picasso undertook to reform
visual language and human perception (Finlay, 2023).
This could be due to Lee’s skill of disturbing and
decomposing forms of cubist compositions, which
depict the synaesthetic approach of portraying multi-
perspective and sensory perceptions through art.
Artistic Techniques and Innovations
Over the years, Picasso sought new possibilities in art,
including collage, sculpture, and the latest techniques
in his works that distanced from realistic aesthetics. In
“Les Demoiselles d’Avignon” and “Guernica,” one
can nd elements of fragmented forms and distorted
gures, which became the driving force of modern art
and suggest a synesthetic ability to connect forms and
emotions (Franz, 2023).
Picasso was synesthetic, and this research looked into
how synesthesia affects art and how it caused Picasso
to perceive and create art through a combination of the
senses. With such associations, he could paint colors
with emotions, textures with sounds, and shapes with
tastes and smells (Franz, 2023); thus, he could produce
emotionally and conceptually valuable paintings. This
synesthesia gave him a fuller perception of art-making
concerning his decisions while creatively presenting
reality (Packard, 2023). Although underrated, the fth
sense of smell is very important in human perception
and adds to the periphery in various ways. It seems
Picasso used the phrase “smelling” colors to suggest
that the senses are combined and invoked. Such a shift
could have affected how Picasso observed and painted
colors, thus bringing interpretations and symbolism to his
works. From a neurological point of view, it may explain
how olfactory and visual processing areas are connected,
and it might provide answers about the organization of
synesthesia or, generally, the inter-processing of different
sensory modalities (Ward & Simner, 2020). This sensory
relation could have helped establish the emotional and
symbolic worth of Picasso’s paintings by awakening
personal feelings and associations through the sense of
vision and smell.
Legacy and Inuence
Color
Picking up on the fact that Picasso had synesthesia, I can
conclude that this man experienced colors personally and
emotionally. Thus, he attributed one or several shades to
some emotion or feeling, which he then imposed on his
painting (Blum, 2021). This particular observation can be
seen in the artist’s Blue Period, which he painted between

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1901 and 1904 and used blue hues to represent sorrow
and despair, or his Rose Period, painted between 1904
and 1906, where he used pink and red to depict happy
and amorous moods (Bakovic et al., 2022).
Form
Thus, synesthesia impacted Picasso’s form-making,
providing him with distinct possibilities for constructing
forms and structures. His perception of form in more
than a concrete visual way helped him evolve Cubism,
where an object is dissected into small geometric shapes
and rebuilt into an abstract image (Finlay, 2023). This
movement was able to go against traditional views and
tried to illustrate the subject from various points of view
at virtually the same time.
Indications of Synesthesia in Picasso’s Life and Work
Picasso’s unique perception, shaped by synesthesia,
enabled him to see the world differently and convey this
vision through his art. His works often blend reality and
imagination, merging what He saw based on what he
felt or heard. His lines and compositions have a owing,
almost melodic cadence, which reects this synesthetic
mixing.
Analysis of Synesthesia’s Impact on Piccaso’s
Emotional Expression and Artistic Journey
Examples of Synesthesia in Picasso’s Life and Work
Picasso’s unique sense, shaped by synesthesia, enabled him
to experience the world in novel ways and communicate
this vision via his work (Finlay, 2023). His paintings
typically merge reality and ction, blending what he saw
with what he felt or heard. His lines and compositions
have a uid, almost musical rhythm representing
synesthetic blending.
Chromesthesia
The most prevalent type of synesthesia among artists is
chromesthesia, which is when sound or music is perceived
as a color. This ailment most likely inuenced Picasso’s
creative perspective. Imagine hearing a melody and
simultaneously seeing vibrant hues dancing before your
eyes (Ferguson, 2023). Picasso’s imagination was like a
piano with many strings, resonating with the interplay of
color and music. Picasso’s paintings demonstrate how the
interaction of colour and shape enabled him to produce
dynamic and visually captivating works that continue to
fascinate viewers.
Innovative Techniques
Picasso’s skill stems from his ability to por tray complicated
emotions using new ways. His unconventional approach
to painting produces strong emotional responses from
viewers. He produced works that deed convention by
combining color, shape, and perception. His works, like
“Les Demoiselles d’Avignon,” questioned expectations
and evoked strong emotions (Meier, 2021).
Abstract Art
Synesthesia signicantly impacted the creation of
abstract art in the early twentieth century (McDonnell,
2020). Picasso, Wassily Kandinsky, and other painters
explored sensory convergence. Picasso’s vibrant colors,
distorted gures, and rhythmic compositions all have
a synesthetic inuence. His paintings became abstract,
concentrating on rhythm and structure, much like
polyphony in music.
Emotional Resonance
Picasso’s emotional expression wasn’t limited to
mere representation; it was visceral. His Blue Period,
characterized by melancholy and introspection, used cool
blue tones to evoke sadness (Bakovic et al., 2022). Later,
during his Rose Period, warmer colors symbolized hope
and sensuality. His Cubist phase deconstructed forms,
challenging perception and inviting viewers to engage
emotionally with fragmented realities.
To summarize, Picasso’s synesthetic encounters
broadened his artistic palette, allowing him to produce
works that spoke beyond the canvas. Color, form, and
perception melded perfectly, creating a unique visual
language that continues to enchant audiences worldwide
(Blum, 2021). Pablo Picasso’s synesthetic experiences,
in which he could see one sensation about another (for
example, seeing colors while hearing noises), improved
his emotional expression and creative growth by giving a
distinct lens through which he observed and depicted the
world (Bakovic et al., 2022). This multimodal technique
enables him to stretch the boundaries of conventional art
and produce pieces that engage with viewers on several
sensory levels.
Research & Studies
Scientic Research on Synesthesia in Art
Synesthesia, a phenomenon in which activation of one
sensory or cognitive route causes involuntary feelings in
another, has piqued the interest of scholars investigating
potential applications in art (Meier, 2021). Numerous
studies have examined how synesthetic experiences affect
creative creativity and perception.
Cross-Modal Perception
According to a research study, synesthetes have
heightened cross-modal awareness, which happens when
one sensory pathway is aroused, prompting emotions in
another. (Iosifyan et al., 2022). This may tremendously
impact how artists see and interpret their environment.
Neuroscientic Studies
Neuroimaging studies have improved our understanding
of the neurological foundations of synesthesia, discovering
distinct patterns of brain activity during synesthetic
experiences. (Laeng et al., 2021). Understanding these
processes can help us better understand how synesthesia
affects creative expression.

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Impact on Artistic Expression
Synesthesia can impact an artist’s palette, forms, and
compositions. Synesthetes, for instance, artists may
associate precise hues with sounds and tastes, impelling
their artistic decisions and resulting in one-of-a-kind,
multisensory artworks (Finlay, 2023).
Impact of Synesthesia on Picasso’s Aesthetic
Perception
Picasso, known for his ground-breaking offerings to
modern art, reportedly experienced synesthesia (Finlay,
2023). His paintings repeatedly incorporate vivid colors,
warped perspectives, and abstract structures, which may
represent his synesthetic senses.
Color Symbolism
Picasso’s use of vivid color on his canvases, such as
“Les Demoiselles d’Avignon” and “Guernica,” reveals
a synesthetic approach in which colors evoke emotions
and meanings beyond their visual appearance (Klempe,
2022b). His Artwork tells the tale of emotion and
psychological and different neuronal activities.
Impact on Artistic Style
Synesthesia might have prejudiced Picasso’s avant-garde
artistic panache, which contains cubism and surrealism
(Spiteri, 2019). His ability to blend several vantage themes
and deform shapes might ascribed to synesthetic imprints
of spatial linkages and sensory mixing.
Interdisciplinary Perspectives
Picasso’s analysis necessitates a multidisciplinary
examination of the work, combining art, neurology,
and psychology to show the complicated relationship
between sensation and creation. It may be interesting
to study synesthesia, particularly its impact on art and
specic artists like Picasso (Cucci et al., 2023).
CONCLUSION
Examining synesthesia in art and its effects on personalities
such as Picasso makes it easier to understand how
perception and creativity affect creative breakthroughs
in art. With the interaction of scientic rigor and the
arts, synesthetic perception patterns’ contribution to the
creation of art and the construction of cultural messages
can be unveiled (Finlay, 2023).
In other words, Picasso’s work has great potential for
neuroscience studies because it evokes important issues
related to perception, creative process, and expressing
oneself, which can be explained in or through combining
different orientations (Cucci et al., 2023). This way, the
works produced and appreciated by people will be easier
to understand by combining the insights of artists and
scientists regarding the various aspects of the human
mind. The interaction between arts and sciences shall be
of tremendous utility for nding out more about how the
human mind works.
Challenges
Picasso’s challenge in his work, particularly via
movements like Cubism, may be viewed as a synesthetic
adaptation in certain ways. (Jozefacka & Mahler, 2022).
Picasso’s paintings deed visual conventions by depicting
objects from several perspectives and blending forms
and colors in unique ways, referred to as synesthesia.
(Mallen, 2024). This working approach demonstrates a
particular sensory integration that might be interpreted
as a synesthetic adaptation in the context of his creative
expression.
Synesthetic Integration in Picasso’s Art
Picasso indirectly used synesthesia in his work by
combining visual and philosophical aspects, which
inspired his experimental approaches and disobedience of
established creative conventions. Picasso accomplished
a creative adaptation beyond normal visual perception,
creating new artistic languages (Veerman, 2021). Thus,
Picasso’s challenge might be interpreted as a synesthetic
adaptation, with sensory integration fueling his remarkable
creative expression. This adaption enabled him to explore
unexpected aesthetic qualities, inuencing contemporary
art by opening up new creative and perceptual pathways
for artists and spectators.
Potential Study Areas for Synesthesia in Art
Pablo Picasso’s art, renowned for challenging norms
and offering unique perspectives, can be studied from
the neuroscience perspective to understand human
perception, creativity, and expression. This provides
insights into potential research areas in neuroscience
(Robson & Currie, 2022).
Visual Perception and Synesthesia
Picasso’s cubist techniques challenge visual perception by
presenting objects from multiple perspectives, potentially
providing insights into human brain processes and
sensory integration mechanisms (Ward & Simner, 2022).
Creativity and Cognition
Picasso’s innovative artistic vision may reveal fundamental
aspects of creative cognition through research on the
human brain’s creative processes in art.
Emotions and Artistic Expression
Picasso’s art often evokes complex emotions, offering
insights into the connection between human emotions
and creative expression through the analysis of emotional
reactions and neurological processes.
Neural Plasticity and Learning
Picasso’s lifelong learning and adaptability in art
may be explained by studying neuronal plasticity and
learning mechanisms, which may help understand brain
adaptation and creative talent development (Sotiropoulos
& Anagnostouli, 2021).

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Art-Brain-Viewer Interaction
Picasso’s paintings’ aesthetic experience can provide
insights into how the brain processes and responds to
complex visual information and the emotional, cognitive,
and perceptual aspects of art appreciation.
Weaknesses and Limitations
Subjectivity and Bias
Picasso’s interpretation is subjective, and it may be
inuenced by individualist views, culture, and art historical
tendencies, perhaps resulting in disregard for competing
opinions.
Framework Understanding
Picasso’s artworks cover all styles and periods, which are
determined by many things such as politics, experiences,
and movements. (Iosifyan et al., 2022). Concentrating
on one factor or a particular period without reference to
other factors will affect the depth and accuracy of the
interpretation.
Interpretive Challenges
Picasso’s works are often political and abstract, adding to
the complexity of analysis (Chernyakevich, 2023). Thus,
the elements of symbolism, the use of metaphors, and
elements of the visual language often cannot have a clear
and denite meaning and can be interpreted differently
depending on the scholars and critics.
Limited Information
Some may rely on non-data-specic knowledge about
Picasso or his intentions and inuences on the piece. The
artist himself rarely expounded on his art; thus, there are
silences in the work that can be lled only with speculation.
Areas Requiring Further Exploration
Cross-cultural Perspectives
The degree of inuence of Picasso’s artwork also opens
up discussion from other cultures that are not strictly
dened in the methodology of Western Art History
(Ward, 2023). Focusing on how his ideas have been
received in cultures outside of the Western world may
have revealed more or his works’ effect and reception in
the world more broadly.
Psychological and Emotional Dimensions
More research could be applied to the psychological and
emotional aspects of Picasso’s works to align with the
man and examine how his life experiences inuenced his
creations (Troughton & Casanovas, 2023).
Technological Advances
For example, scientic analysis, X-ray uorescence, or
multispectral imaging could potentially determine more
layers, changes, or different materials in Picasso’s works
(Cohen, 2020). This could provide this researcher with
fresh interpretations of his composition method and
used substances.
Comparative Studies
It might be useful to compare Picasso to other artists
of his time or even artists from different epochs to
reveal certain specics of his manner of creating and
his contribution to the development of new art (Sattari
Sarbanqoli & Jamali, 2021).
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