Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. Each figure is depicted in a disconcerting confrontational manner and none is conventionally feminine. The women appear slightly menacing and are rendered with angular and disjointed body shapes. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are shown in the Iberian style of Picasso's native Spain, while the two on the right are shown with African mask-like features. The ethnic primitivism evoked in these masks, according to Picasso, moved him to "liberate an utterly original artistic style of compelling, even savage force." In this adaptation of primitivism and abandonment of perspective in favor of a flat, two-dimensional picture plane, Picasso makes a radical departure from traditional European painting. This proto-cubist work is widely considered to be seminal in the early development of cubism and modern art. Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics. At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead