Pablo Picasso, 1881-1973

Pablo Picasso, 1881-1973

Language: English

Pages: 240

ISBN: 0681075112

Format: PDF / Kindle (mobi) / ePub

Picasso's work from 1881-1973 along with commentary relating his work to his life

L'Homme précaire et la Littérature

The Painted Word

Gardens of the Roman World

Impressionism: A Centenary Exhibition

The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer


















soundboard are not depressions or holes the in the nents. Reversing their state in the real world, they in metal but added compo- have here become small Then there are the colours, white, brown ones suggesting the actual colour rectangular boxes lying on the board. black and blue areas alongside the of a violin. Black areas seem suggestive of shadow, just as white ones imply bright light; yet this contrasts with the and spatial approaches, and the art way things appear in reality.

France main cause of Picasso's own classicism. The inadequacy of any one- in an Armchair. 1917 photograph above) Port rail d'Olga clans nn fauteuil Oil on canvas. [30 x 88.8 Paris. cm Musee Picasso 95 sided view can be readily seen works with the European to his work as it is if we grasp the irreconcilability of his classical ideal in art. to classicism, The human image and the tendency to is own central monumentalize un- it mistakable. But in contrast to classical

constant repetition of his own motifs and compositions. Picasso was now scarcely concerned to mirror the outside world. Instead, he took his own work as the centre of the creative universe. As in the Twenties and Thirties, this self-reflexive vein led him to the studio itself, and archetypal scenes of the artist at work with his model (cfl. Picasso's material and also p. 2 17). as subjects. In 1955 Picasso bought La Californie. a sumptuous 19th-century villa splendidly situated on the hills

1901-1906 In the year 1901 Picasso of his own - was already in a position to create something new works known as his Blue Period. These than a resume of European artistic progress since the long series of works constitute no less mid- 19th century - though Picasso did forgo the newly-discovered potential of colour. In this respect he was diametrically at odds with Fauvism. which flourished at the same time. Though the fundamentals of the the Blue Period were evolved so's actual labours

the autonomy of formal means. The erosion of defined spatiality, the abandoning of perspective construction, is only the most striking of several interesting features. tional must be taken together with the accentuation of composi- It fundamentals such as plenitude and emptiness, density and weight, emphasis and its lack. Ex-centricity and centralization were constants in this period. The Blind Man Meal 's (p. 40) has a blind man up against the right of the composition, reaching

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