6,99 €
Mehr erfahren.
- Herausgeber: Parkstone International
- Sprache: Englisch
- Veröffentlichungsjahr: 2011
Picasso
Das E-Book können Sie in Legimi-Apps oder einer beliebigen App lesen, die das folgende Format unterstützen:
Seitenzahl: 60
Ähnliche
Author: Jp. A. Calosse
Layout: Julien Depaulis
Cover: Stéphanie Angoh
ISBN978-1-78160-591-2
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
© Picasso Estate/Artists Rights Society, New York
All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world.
Jp. A. Calosse
LIST OF ILLUSTRATIONS
1.The Embrace, 1900.
2.Le Moulin de la Galette, 1900.
3.Self-Portrait, 1901.
4.Harlequin and his Companion, 1901.
5.The Absinthe Drinker, 1901.
6.The Absinthe Drinker, 1901.
7.The Burial of Casagemas, 1901.
8.The Burial of Casagemas(Evocation), 1901.
9.Portrait of the Poet Sabartés(The Glass of Beer), 1901.
10.Self-Portrait, 1901.
11.The Visit(Two Sisters), 1902.
12.Portrait of Soler, 1903.
13.The Soler’s, 1903.
14.Old Jew and a Boy, 1903.
15.Poor people on the Seashore(The Tragedy), 1903.
16.Head of a Woman with a Scarf, 1903.
17.Life,1903.
18.Celestina, 1904.
19.Boy with a Dog, 1905.
20.Tumblers(Mother and Son), 1905.
21.Young Acrobat on a Ball, 1905.
22.Family of Saltimbanques(Comedians),1905.
23.Family of Acrobats with a Monkey, 1905.
24.Naked Boy, 1905.
25.Spanish Woman from Majorca, 1905.
26.Self-portrait with a Palette, 1906.
27.Nude(Half-Length),1907.
28.Woman(Half-Length), 1906-1907,
29.Les Demoiselles d’Avignon, 1907.
30.The Dance of the Veils(Nude with Drapery), 1907.
31.Composition with a Skull, 1907.
32.Friendship, 1908.
33.Woman with Fan(After the Ball), 1908.
34.Nude in a Landscape(The Dryad), 1908.
35.Bathers,1908.
36.Three Women, 1908.
37.Peasant Woman(Full-Length), 1908.
38.Pitcher and Bowls, 1908.
39.House and Trees(House in a Garden), 1908.
40.Pot, Wineglass and Book, 1908.
41.Bowl with Fruit and Wineglass(Still Life with Bowl of Fruit), 1908-1909.
42.House in a Garden(House and Trees), 1909.
43.Lady with a Fan, 1909.
44.Queen Isabeau, 1908-1909.
45.Woman with a Mandolin, 1908-1909.
46.Factory in Horta de Ebro, 1909.
47.Woman Seated in an Armchair, 1909-1910.
48.Portrait of Ambroise Vollard, 1910.
49.Bottle of Pernod and Wineglass(Table in a Café), 1912.
50.Violin, 1912.
51.Musical Instruments, 1913.
52.Bowl of Fruit with Bunch of Grapes and Sliced Pear, 1914.
53.Portrait of a Young Girl(Woman Seated Before a Fireplace), 1914.
54.The Bathers, 1918.
55.Women Running on the Beach, 1922.
56.Paul as Harlequin, 1924.
57.The Sculptor, 1931.
58.Figures on a Beach, 1931.
59.The Lecture, 1932.
60.Weeping Woman, 1937.
61.Guernica, 1937.
62.Portrait of Dora Maar, 1939.
63.Women of Algiers(After Delacroix), 1955.
64.The Painter and his Model, 1963.
65.Self-Portrait(Head), 1972.
1.The Embrace, 1900.
Oil on cardboard, 52 x 56 cm.
The Pushkin Museum of Fine Arts, Moscow.
From childhood to Cubism
The works of Picasso published in the present volume cover those early periods which, based on considerations of style, have been classified as Steinlenian (or Lautrecian), Stained Glass, Blue, Circus, Rose, Classic,«African», Proto-Cubist, Cubist…From the viewpoint of the“science of man”, these periods correspond to the years 1900-1914, when Picasso was between nineteen and thirty-three, the time which saw the formation and flowering of his unique personality.
But a scientific approach to Picasso’sœuvre has long been in use: his work has been divided into periods, explained both by creative contacts and reflections of biographical events. If Picasso’s work has for us the general significance of universal human experience, this is due to the fact that it expresses, with the most exhaustive completeness, man’s internal life and all the laws of its development. Only by approaching hisœuvre in this way can we hope to understand its rules, the logic of its evolution, the transition from one putative period to another.
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to the artist’s tools. In early childhood he could spend hours tracing his first pictures in the sand. This early self-expression held the promise of a rare gift.
Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and there that he spent the first ten years of his life. Málaga was the cradle of his spirit, the land of his childhood, the soil in which many of the themes and images of his mature work are rooted. He first saw a picture of Hercules in Málaga‘s municipal museum, witnessed bullfights on the Plaza de Toros, and at home watched the cooing doves that served as models for his father. The young Pablo drew all of this and by the age of eight took up brush and oils to paint a bullfight. As for school, Pablo hated it from the first day and opposed it furiously.
In 1891, financial difficulties forced the Ruiz Picasso family to move to La Coruña, where Pablo’s father was offered a position as teacher of drawing and painting in a secondary school. La Coruña had a School of Fine Arts. There the young Pablo Ruiz began his systematic studies of drawing and with prodigious speed completed (by the age of thirteen!) the academic Plaster Cast and Nature Drawing Classes.
What strikes one most in his works from this time is not so much the phenomenal accuracy and exactitude of execution as what the young artist introduced into this frankly boring material: a treatment of light and shade that transformed the plaster torsos, hands and feet into living images of bodily perfection overflowing with poetic mystery.
He did not, however, limit his drawing to the classroom; he drew at home, all the time, using whatever subject matter was out hand: portraits of the family, genre scenes, romantic subjects, animals. In keeping with the times, he“published”his own journals -La CoruñaandAzul y Blanco (Blue and White)- writing them by hand and illustrating them with cartoons. At home, under his father’s tutelage during his last year in La Coruña, Pablo began to paint live models in oils (seePortrait of an Old ManandBeggar in a Cap). These portraits and figures speak not only of the early maturity of the thirteen-year-old painter, but also of the purely Spanish nature of his gift: a preoccupation with human beings, whom he treated with profound seriousness and strict realism, uncovering the monolithic and“cubic”character of these images.
