Here are some notes on Landscape with Posters (1912).
When looking at any scene, all the lines are at a variety of angles, but Picasso allows himself to draw some lines parallel which should not be parallel. This creates multiple vanishing points and more visual rhythm than what the original may have had.
Visual rhythm is always nice, but when each element being expressed rhythmically has meaning (IE, it signifies something), the meaning itself becomes manifold and the experience of viewing the work becomes more substantive. For example, the lines denoting a variety of ground levels is the idea of the ground expressed in avariety of contexts. It isn’t only the rhythm of lines but the rhythm of the earth or any other idea associated with the ground.
You also have the rhythm of doorways (notice there are two) and the rhythm of walls. And then you have the occasional “poster,”which breaks up what Picasso might’ve thought was monotonous and which gives a viewer a few places to focus one’s attention.
There are also some really nice moves: EG, the bottom of a wall receding beyond the opening of a door, which is made more interesting with the rectangle surrounding the door which depicts a building. It’s not stated in the picture, but seeing a door to a building and not just what would be an archway is associated with experiences of when you may have wondered about what’s inside a place. You don’t see what’s inside, and this invites you to wonder what could be.