One hundred years ago in 1907, Picasso's "Les Demoiselles d'Avignon" shocked the world with its frank, Cubist portrayal of five naked prostitutes with attitude. Now five Spanish artists give their own takes, writes Sophie Wang.Les Demoiselles d'Avignon" ("The Young Ladies of Avignon"), a striking early Cubist painting of prostitutes by Pablo Picasso (1881-1973), inspires a new take by five Spanish artists.The original, completed in 1907, shocked middle-class sensibilities as it depicted five naked prostitutes in a brothel. Picasso called it his "first exorcism."The five artists' works - more than 40 oils, acrylics and drawings - are exhibited in "New Gaze at Picasso's Demoiselles" celebrating the centenary of Picasso's iconic painting at ART in Capitals gallery in Shanghai.Among them is 50-year-old Xavier Vilato, Picasso's nephew. The other four are Angel de la Pena, Antonio Forgue, Juan Antonio Tinte and Pedro Castrortega.Vilato works in painting, graphics and ceramics and often collaborates with craftsmen, poets and publishers. Last year he made his first film, "Ludique Journee" ("Ludicrous Journey") with Jenna Bastos and Numa Vilato.In Picasso's masterpiece, two women push aside curtains, and all five strike seductive poses. The figures are composed of flat, splintered planes. The faces of the figures on the right are influenced by African masks. Picasso saw African art as a source of vitality and renewal that he wanted to incorporate in European painting.The critic Salmon wrote: "It was the ugliness of the faces that froze with horror the half-converted."Inspired by the painting, the five painters have, in return, paid tribute to Picasso with their own creations - a new gaze, new language and new interpretations."The variety of the styles of the five artists show Picasso's fruitful work and how he has influenced painters with very different styles," says Antonio Segura Moris, consul general of Spain in Shanghai.After its initial showing, "Les Demoiselles d'Avignon" was not displayed for 39 years. It was exhibited at the Galerie d'Antin in Paris in 1916, then was rolled up in Picasso's studio until it was bought in the early 1920s.It remained relatively unknown until 1937 when it was showcased at the Petit Palais in Paris. The Museum of Modern Art in New York bought it soon afterwards, and it is now on display.