Truth in Picasso's the Old Guitarist

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Martin Heidegger regards language to be the ultimate reality, and holds poetry to be the highest and most authentic form. Language became a quasi-divinity, the ultimate reality or medium which explains the world to us. Heidegger takes this idea further to say all art is essentially poetry. He furthermore states the work of art, or in this case the painting is as dependent upon the painter as the painter is dependent upon the painting. This brings us to conclude that the origin of the work of art is art itself. Art is a way in which truth happens. In art, truth is at work in the work; the establishment of truth is always active in the work. "Art, says Heidegger, exhibits an impulse to realize itself in a work as an entity within the realm of entities" (Quigley 1). Art is one of the ways truth can establish itself in this realm. Like some before Heidegger, for example Hegel assigns to art a supreme role in the human experience. It is through the deeper understanding of Picasso's The Old Guitarist in terms of the struggle between earth and world that we gain access to Picasso's true skill and talent in the success of this piece, we understand the role of creator in the dynamic emergence of truth. Picasso's The Old Guitarist is a haunting and pensive work, instilling a sense of mystery and intrigue. The old man, clad in tattered rags, is gazing towards the floor, both of his hand on the guitar even though the old man appears to be asleep. The essence of the old man is embodied in his posture and gesture, a distorted style noting that the upper torso of the guitarist seems to be reclining, while the bottom half appears to be sitting cross legged. Knowing nothing about the old man, one can conclude that he has lived a long life, maybe even a depressed life considering the visible points in the painting is of fundamental importance to his mode of being. Adding to the mystery, a mysterious image is painted underneath The Old Guitarist. It is very likely that Picasso...
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