Jeanne
by P. Picasso, Paris, 1901
oil on canvas
Tete de femme, de profil (여성의 두상, 프로파일)
by Picasso, Paris, Feb. 1905
graphite
Les Amants (연인들)
by Picasso, Paris, Aug. 1904
pen and ink
La Celestine (La femme a la taie)
by Picasso, Barcelone, March 1904
oil on canvas
Cubism
In 1906, Pablo Picasso spent the summer at Gosol, a small village
in the Spanish Pyrenees, and embarked on a crucial change of his work.
Subsquently, and until the 1907 masterpiece the Demoiselles d'Avignon,
the artist was interested almost exclusively in the female body.
He dedicated many works to it, characterised by his abandonment of illusionist
processes in favour of a new expressive language: construction through
the articulation of fundamental forms and the use of shading inspired
by African art.... From 1908, the cubism that Picasso invented,
with Georges Braque in "tow", formed the basis for much of the art
of the 20th century. It consisted of a preliminary Cezanne phase(1908-1909),
marked by the open shapes and geometry of Paul Cezanne's paintings,
a second, almost abstract and so-called "analytical' phase(1910-1911)
based on greater decompositon of shapes and, finally, a third mixed phase
launched in 1912 with the appearance of papiers colles and objects.
Braque and Picasso endeavoured to portray things not as they appeared
to the eye but as they appeared to the mind.
Violon et bouteille sur une table
by Picasso, Paris, 1915 Autume
Le Sacre-Coeur
by Picasso, Paris, 1909-1910 Winter
oil on canvas
Tete d'jomme
by Picasso, Paris, 1909 Spring
pastel on wood
Nature morte a la bouteille
by Georges Braque, 1910-1911
oil on canvas
Verre, pomme, livres
by Picasso, Paris, 1911 spring
oil on canvas
Homme a la cheminee
by Picasso, Paris, 1916
oil on canvas
Classicism
After the exhibition of these works at the Galerie Paul Rosenberg in Paris in 1919,
Pablo Picasso moved to a new style of painting and lifestyle.
Indeed, after his marriage in 1918 to the Russian ballerina Olga Khonkhlove,
who he had met in Rome while he was working on the ballet Parade,
he left his Bohemian lifestyle for a more upmarket existence.
The artist returned to studying the great masters of art history,
from Jean Auguste Dominique Ingres to Auguste Renoir, and a clear and pure
classical line. Other European artists would follow him; this was the
'return to order' after the slaughter of the Great War which physically
and ideologically decimated the artistic avant-gardes. While travelling with the
Ballets Russes in Italy in 1917, Picasso had seen the Raphaels of the Vatican
and the masterpieces of Antiquity, these led to depictions of nudes
and sculptural figures clad in classical drapery in a timeless atmosphere.
However, the artist broke with the model of idealised representation,
its powerful figures became massive, particularly at Fontainblear
during the summer of 1921, influenced by the mannerist painter of the
French Renaissance, Primaticcio.
La Lecture de la lettre
by Picasso, Paris, 1921
oil on canvas
La Danse villageoise
by Picasso, Paris, 1922
pastel and oil on canvas
Deux Femmes courant sur la plage (La course)
by Picasso, Dinard, 1922 Summer
Gouache on plywood
Surrealism
Pablo Picasso never claimed to be a surrealist. However, by offering
an alternative to the illusionist imitation of reality, the inventor of cubism prepared
the possibilities for the movement theorised in 1924 by Andre Pretons' Surrealist Manifesto
and embarked on the parallel experimentation processes. Thus, even before
the surrealists had adopted the definition of bearuty given by Lautreamont in 1868
in Les Chants de Maldoror ('beautiful as the chance encounter of a sewing machine
and an umbrella on an operating tale'), Picasso was using discarded objects in his painting.
From 1926, he was quick to break the rules of this technique by incorporating
a floorcloth, rope and nails into his Guitar. A long way from the disturbing strangeness
of this work of rare aggressiveness, the sand compositions of summer 1930
developed a more poetic version of this art of assembling in which the diverse range
of objects and materials found on the beach merge and impose disorder
on the observer's gaze. According to Breton, this placement of bizarre
or contradictory elements fuelled the "interminable gestation" of the work of art.
Visage aux deux profils
by Picasso, Juan-les-Pins, 1903 Aug. 14
Sable teinte par endroits sur revers de toile et chassis,
carton colle et cousu sur toile
Baigneuse couchee
by Picasso, Juan-les-Pins, 1903 Aug 20
Sable teinte par endroits sur revers de toile et chassis, objets, ficelle
et caron colles et cousus sur toile
Paysage aux bateaux
by Picasso, Juan-les-Pins, 1930 Aug 28
Guitare
by Picasso, Paris, 1926 spring
Cordes, papier journal, serpilliere et clous sur toile peinte
Guitare
by Picasso, Paris, 1927 Apr 27
oil and pastel on canvas
Guitare
by Picasso, Paris, 1926 April
Guitare
by Picasso, Paris, 1926 May 1
Guitare
by Picasso, Paris 1926 spring
Guiatre
by Picasso, 1926 May
War Time
From 1930-1940, the theme of death engulfed all of Pablo Picasso's work.
In addition to th eanxiety caused by the potical situation, he suffered personal
sorrow with the death of his mother Maria in early 1939.
Afraid of being harassed by the regime that denied him French nationality
in 1940. Picasso shut himself away and lived as a recluse from Parisian artistic life
until 1941. The threat was reflected in the production of universal allegories,
which did not refer to a specific political event but served as Momento Mori,
a pictorial genre designed to remind mankind of its mortality.
Alongside the vanitas, a classic motif of this reflection on the transience of lie,
many woman in armchair paintings, through the evolution in their treatment,
reflected all the tension of these dark years. Deformed bodies, increasingly disjointed
members, sharp lines, the pattern of stripes or grid lines and njted or garish tones
transposed the imprisonment and psychological violence suffered by the civilian
populations into paintings and engravings.
Femme assise aux bras croises
Le Tremblay-sur-Mauldre, 1937
Huile sur toile
Portrait de Dora Maar
by Picasso, Paris, Nov. 23, 1937
Huile sur toile
Portrait de Dora Maar
by Picasso, Paris, Oct. 1, 1937
Huile et pastel sur toile
L'Artiste devant sa toile
by Picasso, Paris, Mar. 22, 1938
Fusain sur toile
Portrait de Marie-Therese
by Picasso, Paris, Jan 6, 1937
Huile sur toile
La Suppliante
by Picasso, Paris, Dec 18, 1937
Page de titre de l'album Picault: <<Picasso, l'atelier du Fournas, les annees 50, Vallauris>>
by Robert Picault, 1950
Fumees a Vallauris
by Picasso, Vallauris, Jan 12, 1951
Huile sur toile
La Liseuse
by Picasso, Vallauris, Jan. 29, 1953
Huile sur contreplaque
Couple
by Picasso, Mougins, Oct. 30, 1967
Huile sur toile
창문을 통해서 비가 내리는 박물관 앞 정원의 모습 역시 한 폭의 그림같다.
Le Matador
by Picasso, Mougins, Oct. 4, 1970
Huile sur toile
2017년 6월 30일에...
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