Category / Pablo Picasso

Pablo Picasso

Picasso: Art Washes Away…

A Very Young Pablo Picasso
Pablo Picasso (circa 1914)

“Art washes away from the soul the dust of everyday life.” -Pablo Picasso

“Though he was a relatively poor student, Picasso displayed a prodigious talent for drawing at a very young age. According to legend, his first words were “piz, piz,” his childish attempt at saying “lápiz,” the Spanish word for pencil. Picasso’s father began teaching him to draw and paint when he was a child, and by the time he was 13 years old, his skill level had surpassed his father’s. Soon, Picasso lost all desire to do any schoolwork, choosing to spend the school days doodling in his notebook instead. “For being a bad student, I was banished to the ‘calaboose,’ a bare cell with whitewashed walls and a bench to sit on,” he later remembered. “I liked it there, because I took along a sketch pad and drew incessantly … I could have stayed there forever, drawing without stopping.”

“In 1895, when Picasso was 14 years old, he moved with his family to Barcelona, Spain. where he quickly applied to the city’s prestigious School of Fine Arts. Although the school typically only accepted students several years his senior, Picasso’s entrance exam was so extraordinary that he was granted an exception and admitted. Nevertheless, Picasso chafed at the School of Fine Arts’ strict rules and formalities, and began skipping class so that he could roam the streets of Barcelona, sketching the city scenes he observed.” –Biography

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Pablo Picasso

Pablo Picasso: Father of Modern Art

Picasso In Studio- Women with Artichoke
photographed by Richard Ham, 1942

“The world doesn’t make sense, so why should I paint pictures that do?” -Pablo Picasso

“Now known as the father of modern art, Pablo Picasso has a major impact on the art work which is produced today and into the future. Picasso’s free spirit, his eccentric style, and his complete disregard for what others thought of his work and creative style, made him a catalyst for artists to follow. Picasso’s originality touched every major artist and art movement that followed in his wake. Even as of today, his life and works continue to invite countless scholarly interpretation and attract thousands of followers around the world. No one has achieved the same degree of widespread fame or displayed such incredible versatility as Pablo Picasso has in the art history.” -PabloPicasso.org

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Pablo Picasso Uncategorized

The Artistic Diversity of Pablo Picasso

The Creative Process of Pablo Picasso

“Inspiration exists, but it has to find us working.” -Pablo Picasso

“Pablo Picasso’s insatiable curiosity and tireless urge to create art often led him to mediums beyond painting. He fully explored sculpture and drawing, as well as printmaking and ceramics. This exhibition looks at Picasso’s engagement with printmaking over the course of his long career, and the ways it fostered his creativity by encouraging a thematic approach to his subjects and by allowing for constant experimentation.

“As a young artist, Picasso (Spanish, 1881–1973) bought a small printing press, and prints became part of the ongoing development of his work. His first series of etchings and drypoints was devoted to themes of the Blue and Rose periods. Examples include Frugal Repast (1904), a well-known scene of a destitute couple at a sparsely-filled dining table. Others depict itinerant circus performers known as saltimbanques. As Picasso went on to forge his Cubist style, he made prints intermittently, cross-fertilizing related drawings and paintings. One series of his abstracted images was conceived in 1910 to illustrate St. Matorel, a book by poet Max Jacob, who was among his closest friends during the first years in Paris.

“While prints played a small but continuing role in Picasso’s early work, by the late 1920s and early 1930s, he became truly engaged in the medium, and remained so for the rest of his life. It was at that time that he grasped the narrative potential in his printmaking. He enjoyed propping up his copperplates and conjuring up compositions that led his invented characters from one scene to another. Later he would call this manner of printmaking his own way of “writing fiction.”

“Picasso created tales of the Minotaur, of fauns and satyrs, and of bullfighting. In Minotauromachy (1935), he combined the Minotaur myth and the violence of the bullfight in a highly symbolic, enigmatic scene that is considered a milestone of modern printmaking. Especially under the influence of Surrealism, such motifs became entangled with events in Picasso’s personal life, particularly those involving his relationships with women. These entanglements are also a factor in other themes he explored, from scenes of the artist in the studio, to portrayals of sexual aggression, to tableaux in which one figure watches the other sleep.

“Picasso’s focus on the women in his life also involved portraiture. Each time he became involved with a new woman, he absorbed her features into his artistic vocabulary, depicting her over time in a manner reflecting his own changing moods. The exhibition includes a range of prints inspired by these women, from the 1905 Head of Woman, which portrays Madeleine, a lover known only by her first name, to a late series of linoleum cuts presenting a complex and evolving portrait of Jacqueline Roque, the artist’s second wife and companion until his death in 1973. Also included are the young Marie-Thérèse Walter, whose face constitutes a mysterious presence; Picasso’s first wife, Olga, whose stirring portrait, which was recently acquired, exemplifies her role as muse of the Neo-Classical period; the Surrealist photographer Dora Maar, who served as model for the monumental Weeping Woman of 1937; and Francoise Gilot, the aspiring painter who spent the postwar years with the artist, and whose likeness evolves over time to show Picasso’s changing relationship to her.

“Picasso continued making prints with great enthusiasm until the last years of his life. During seven months in 1968, he created Suite 347, named for the number of prints it contains. It represents an intense period of printmaking in a range of etching techniques, exploring a variety of themes. Among the subjects is the artist’s reflection back on his long life, with figures of varying scale in compositions filled with spatial disparities that suggest a flood of memories.

“The master printers with whom Picasso worked provided not only technical expertise, but also stimulating collaborative partnerships. Roger Lacourière tutored him in intaglio techniques (etching, drypoint, engraving, and aquatint) in the early 1930s, as he reached a new level of complexity in such prints as Faun Unveiling a Sleeping Girl (1936). Fernand Mourlot championed Picasso’s work in lithography after World War II. The printers at Mourlot’s shop in Paris fostered Picasso’s seemingly endless experimentation with developing images, like those in the Bull series, which begins with a naturalistic rendering and ends with a few simple lines. In linoleum cut, Hidalgo Arnéra spurred Picasso on at his workshop in the South of France in the 1950s and 1960s. Picasso created masterworks like Portrait of a Young Girl in this medium, which until then had been considered secondary. Finally, in his last years, Picasso collaborated with Aldo and Piero Crommelynck, who set up an etching workshop near his residence in the Mougins to accommodate his demanding schedule.” -ArtDaily

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Creative Relationships Marc Chagall Pablo Picasso

Pablo Picasso & Marc Chagall

“What a genius, that Picasso. It is a pity he doesn’t paint.” -Marc Chagall

“Picasso and Marc Chagall, two of the greatest painters of the last century, were friends until a dinner at Chagall’s place in 1964. “When are you going back to Russia?” Picasso asked his host. They were both expatriots living in France. Chagall was Russian and Picasso was Spanish. “After you,” said Chagall with a smile. “I hear you are greatly loved there [Picasso was a Communist] but not your work. You try to make it there and I’ll wait and see how you do.”

Picasso didn’t like that answer much. It was after dinner, he was feeling his wine, and his guard was down. “I guess with you it’s a question of business,” he told Chagall. “You won’t go unless there’s money in it.”

Francoise Gilot, who was at the table, says Chagall grinned at that remark but burned inside ever after. That was the end of the friendship.

Both those Titans had severe commercial temptations in old age. Each suspected or believed the other was a sinner.” –PabloPicasso.org

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