Pablo Picasso (/pɪˈkɑːsoʊ, -ˈkæsoʊ/; Spanish: [ˈpaβlo piˈkaso]; 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d’Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces.Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the slightly older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art.Picasso’s work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso’s work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art.Picasso was baptized Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso, a series of names honouring various saints and relatives. Ruiz y Picasso were included for his father and mother, respectively, as per Spanish law. Born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa. Though baptized a Catholic, Picasso would later on become an atheist. Picasso’s family was of middle-class background. His father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts and a curator of a local museum. Ruiz’s ancestors were minor aristocrats.Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were "piz, piz", a shortening of lápiz, the Spanish word for "pencil". From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was a traditional academic artist and instructor, who believed that proper training required disciplined copying of the masters, and drawing the human body from plaster casts and live models. His son became preoccupied with art to the detriment of his classwork.
The family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. They stayed almost four years. On one occasion, the father found his son painting over his unfinished sketch of a pigeon. Observing the precision of his son’s technique, an apocryphal story relates, Ruiz felt that the thirteen-year-old Picasso had surpassed him, and vowed to give up painting, though paintings by him exist from later years. 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria. After her death, the family moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home. Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, and the jury admitted him, at just 13. The student lacked discipline but made friendships that would affect him in later life. His father rented a small room for him close to home so he could work alone, yet he checked up on him numerous times a day, judging his drawings. The two argued frequently.Picasso’s father and uncle decided to send the young artist to Madrid’s Real Academia de Bellas Artes de San Fernando, the country’s foremost art school. age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment. Madrid held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso’s later work.Picasso’s training under his father began before 1890. His progress can be traced in the collection of early works now held by the Museu Picasso in Barcelona, which provides one of the most comprehensive records extant of any major artist’s beginnings. During 1893 the juvenile quality of his earliest work falls away, and by 1894 his career as a painter can be said to have begun.The academic realism apparent in the works of the mid-1890s is well displayed in The First Communion (1896), a large composition that depicts his sister, Lola. In the same year, at the age of 14, he painted Portrait of Aunt Pepa, a vigorous and dramatic portrait that Juan-Eduardo Cirlot has called "without a doubt one of the greatest in the whole history of Spanish painting."In 1897, his realism began to show a Symbolist influence, for example, in a series of landscape paintings rendered in non-naturalistic violet and green tones. What some call his Modernist period (1899–1900) followed. His exposure to the work of Rossetti, Steinlen, Toulouse-Lautrec and Edvard Munch, combined with his admiration for favourite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period.Picasso made his first trip to Paris, then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poet Max Jacob, who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. During the first five months of 1901, Picasso lived in Madrid, where he and his anarchist friend Francisco de Asís Soler founded the magazine Arte Joven (Young Art), which published five issues. Soler solicited articles and Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathizing with the state of the poor. The first issue was published on 31 March 1901, by which time the artist had started to sign his work Picasso; before he had signed Pablo Ruiz y Picasso.Picasso’s Blue Period (1901–1904), characterized by sombre paintings rendered in shades of blue and blue-green, only occasionally warmed by other colours, began either in Spain in early 1901, or in Paris in the second half of the year. Many paintings of gaunt mothers with children date from the Blue Period, during which Picasso divided his time between Barcelona and Paris. In his austere use of colour and sometimes doleful subject matter – prostitutes and beggars are frequent subjects – Picasso was influenced by a trip through Spain and by the suicide of his friend Carlos Casagemas. Starting in autumn of 1901 he painted several posthumous portraits of Casagemas, culminating in the gloomy allegorical painting La Vie (1903), now in the Cleveland Museum of Art..Pablo Picasso, 1905, Au Lapin Agile (At the Lapin Agile) (Arlequin tenant un verre), oil on canvas, 99.1 × 100.3 cm, Metropolitan Museum of Art
The same mood pervades the well-known etching The Frugal Repast (1904),] which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness is a recurrent theme in Picasso’s works of this period, also represented in The Blindman’s Meal (1903, the Metropolitan Museum of Art) and in the portrait of Celestina (1903). Other works include Portrait of Soler and Portrait of Suzanne Bloch.The Rose Period (1904–1906) is characterized by a lighter tone and style utilizing orange and pink colours, and featuring many circus people, acrobats and harlequins known in France as saltimbanques. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso. Picasso met Fernande Olivier, a bohemian artist who became his mistress, in Paris in 1904. Olivier appears in many of his Rose Period paintings, many of which are influenced by his warm relationship with her, in addition to his increased exposure to French painting. The generally upbeat and optimistic mood of paintings in this period is reminiscent of the 1899–1901 period (i.e. just prior to the Blue Period) and 1904 can be considered a transition year between the two periods.Portrait of Gertrude Stein, 1906, Metropolitan Museum of Art, New York City. When someone commented that Stein did not look like her portrait, Picasso replied, "She will".By 1905, Picasso became a favourite of American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein. Gertrude Stein became Picasso’s principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905, he met Henri Matisse, who was to become a lifelong friend and rival. The Steins introduced him to Claribel Cone and her sister Etta who were American art collectors; they also began to acquire Picasso and Matisse’s paintings. Eventually Leo Stein moved to Italy. Michael and Sarah Stein became patrons of Matisse, while Gertrude Stein continued to collect Picasso. 1907 Picasso joined an art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler. Kahnweiler was a German art historian and art collector who became one of the premier French art dealers of the 20th century. He was among the first champions of Pablo Picasso, Georges Braque and the Cubism that they jointly developed. Kahnweiler promoted burgeoning artists such as André Derain, Kees van Dongen, Fernand Léger, Juan Gris, Maurice de Vlaminck and several others who had come from all over the globe to live and work in Montparnasse at the time.Picasso’s African-influenced Period (1907–1909) begins with his painting Les Demoiselles d’Avignon. Picasso painted this composition in a style inspired by Iberian sculpture, but repainted the faces of the two figures on the right after being powerfully impressed by African artefacts he saw in June 1907 in the ethnographic museum at Palais du Trocadéro. When he displayed the painting to acquaintances in his studio later that year, the nearly universal reaction was shock and revulsion; Matisse angrily dismissed the work as a hoax. Picasso did not exhibit Le Demoiselles publicly until 1916.Other works from this period include Nude with Raised Arms (1907) and Three Women (1908). Formal ideas developed during this period lead directly into the Cubist period that follows.Analytic cubism (1909–1912) is a style of painting Picasso developed with Georges Braque using monochrome brownish and neutral colours. Both artists took apart objects and "analyzed" them in terms of their shapes. Picasso and Braque’s paintings at this time share many similarities.Synthetic cubism (1912–1919) was a further development of the genre of cubism, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art. In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry, and Gertrude Stein. Apollinaire was arrested on suspicion of stealing the Mona Lisa from the Louvre in 1911. Apollinaire pointed to his friend Picasso, who was also brought in for questioning, but both were later exonerated.Between 1915 and 1917, Picasso began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar or a glass, with an occasional element of collage. "Hard-edged square-cut diamonds", notes art historian John Richardson, "these gems do not always have upside or downside". "We need a new name to designate them," wrote Picasso to Gertrude Stein: Maurice Raynal suggested "Crystal Cubism". These "little gems" may have been produced by Picasso in response to critics who had claimed his defection from the movement, through his experimentation with classicism within the so-called return to order following the war. the outbreak of World War I in August 1914, Picasso was living in Avignon. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the Spaniard Juan Gris remained from the Cubist circle. During the war, Picasso was able to continue painting uninterrupted, unlike his French comrades. His paintings became more sombre and his life changed with dramatic consequences. Kahnweiler’s contract had terminated on his exile from France. At this point Picasso’s work would be taken on by the art dealer Léonce Rosenberg. After the loss of Eva Gouel, Picasso had an affair with Gaby Lespinasse. During the spring of 1916, Apollinaire returned from the front wounded. They renewed their friendship, but Picasso began to frequent new social circles.Towards the end of World War I, Picasso made a number of important relationships with figures associated with Serge Diaghilev’s Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris, and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev’s troupe, for whom Picasso was designing a ballet, Erik Satie’s Parade, in Rome; they spent their honeymoon near Biarritz in the villa of glamorous Chilean art patron Eugenia Errázuriz.After returning from his honeymoon, and in desperate need of money, Picasso started his exclusive relationship with the French-Jewish art dealer Paul Rosenberg. As part of his first duties, Rosenberg agreed to rent the couple an apartment in Paris at his own expense, which was located next to his own house. This was the start of a deep brother-like friendship between two very different men, that would last until the outbreak of World War II.Khokhlova introduced Picasso to high society, formal dinner parties, and all the social niceties attendant to the life of the rich in 1920s Paris. The two had a son, Paulo Picasso,.who would grow up to be a dissolute motorcycle racer and chauffeur to his father. Khokhlova’s insistence on social propriety clashed with Picasso’s bohemian tendencies and the two lived in a state of constant conflict. During the same period that Picasso collaborated with Diaghilev’s troupe, he and Igor Stravinsky collaborated on Pulcinella in 1920. Picasso took the opportunity to make several drawings of the composer. 1927 Picasso met 17-year-old Marie-Thérèse Walter and began a secret affair with her. Picasso’s marriage to Khokhlova soon ended in separation rather than divorce, as French law required an even division of property in the case of divorce, and Picasso did not want Khokhlova to have half his wealth. The two remained legally married until Khokhlova’s death in 1955. Picasso carried on a long-standing affair with Marie-Thérèse Walter and fathered a daughter with her, named Maya. Marie-Thérèse lived in the vain hope that Picasso would one day marry her, and hanged herself four years after Picasso’s death.
Crystal Cubism (French: Cubisme cristal or Cubisme de cristal) is a distilled form of Cubism consistent with a shift, between 1915 and 1916, towards a strong emphasis on flat surface activity and large overlapping geometric planes. The primacy of the underlying geometric structure, rooted in the abstract, controls practically all of the elements of the artwork.This range of styles of painting and sculpture, especially significant between 1917 and 1920 (also referred to as the Crystal Period, classical Cubism, pure Cubism, advanced Cubism, late Cubism, synthetic Cubism, or the second phase of Cubism), was practiced in varying degrees by a multitude of artists; particularly those under contract with the art dealer and collector Léonce Rosenberg—Henri Laurens, Jean Metzinger, Juan Gris and Jacques Lipchitz most noticeably of all. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the French poet and art critic Maurice Raynal as ‘crystal’ Cubism.Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson’s concept of duration—had now been vacated, replaced by a purely formal frame of reference that proceeded from a cohesive stance toward art and life. post-war reconstruction began, so too did a series of exhibitions at Léonce Rosenberg’s Galerie de L’Effort Moderne: order and the allegiance to the aesthetically pure remained the prevailing tendency. The collective phenomenon of Cubism once again—now in its advanced revisionist form—became part of a widely discussed development in French culture. Crystal Cubism was the culmination of a continuous narrowing of scope in the name of a return to order; based upon the observation of the artists relation to nature, rather than on the nature of reality itself.Crystal Cubism, and its associative rappel à l’ordre, has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture. In terms of the separation of culture and life, the Crystal Cubist period emerges as the most important in the history of Modernism.Cubism, from its inception, stems from the dissatisfaction with the idea of form that had been in practiced since the Renaissance. This dissatisfaction had already been seen in the works of the Romanticist Eugene Delacroix, in the Realism of Gustave Courbet, in passing through the Symbolists, Les Nabis, the Impressionists and the Neo-Impressionists. Paul Cézanne was instrumental, as his work marked a shift from a more representational art form to one that was increasingly abstract, with a strong emphasis on the simplification of geometric structure. In a letter addressed to Émile Bernard dated 15 April 1904, Cézanne writes: "Interpret nature in terms of the cylinder, the sphere, the cone; put everything in perspective, so that each side of an object, of a plane, recedes toward a central point."Cézanne was preoccupied by the means of rendering volume and space, surface variations (or modulations) with overlapped shifting planes. Increasingly in his later works, Cézanne achieves a greater freedom. His work became bolder, more arbitrary, more dynamic and increasingly nonrepresentational. As his color planes acquired greater formal independence, defined objects and structures began to lose their identity.’Walpurgis Night, and The Angel that other master Alfred Kubin the Western Window (whose hero is the esoteric scholar John Dee). Picasso was also a member of this Order And it seems the same is true about Picasso, if we can trust the word of Marijo Ariens-Volker, who in her article "Alchemical, Kabbalistic, and Occult Symbolism in the Work of His Contemporaries (discussed in chapter 4), brings up several disturbing arguments. According to this researcher, Picasso, at the beginning of his stay in Paris, lived with his friend Ricardo Vines, who frequented the Librairie du Merveilleux, the general headquarters of the "independent group of esoteric studies" created by Papus. Among those closest to the painter at this time, we find André Salmon, who makes reference to Papus, the Martinists, and the Masons in several of his texts There were also Juan Gris an extremely assiduous Mason 38 Max Jacob, who considered kabbalah as his "life philosophy" and will be, before being expelled by Breton for impenitent Catholicism, frequently published in Littérature, and Guillaume Apollinaire who often spoke of Hermes Tres megistus and whose library held many books by Papus and other Martinists, as well as the official journals of the Order and even a document from the 1908 Spiritualist Congress. According to his grandson, Olivier Widmaier, Picasso was extremely well versed in the kabbalah, read the Zohar, and was a spiritualist his conversations with Brassai, Picasso admitted he had been a "member of an Order during his cubist period," probably the Martinist Order: some of the collages he made at this ime even bear signs that Ariens-Volker analyzes as allusions to the Martinist grade of unknown superior 40 210 Papus (whose "confused mysticism" would be denounced by Gérard Legrand in Médium in November 1953) claimed he had received Martinist initiation from the son of a close friend of Saint-Martin, but he also spent time with the "famous" theoretician of modern occultism, the "priest" (and Mason) Alphonse Louis Constant, alias Eliphas Levi 211 (Osiris is a black god," Breton writes in Arcanum 1 and was part of Helena Blavatsky and Colonel Henry Steel Olcott’s Theosophical Society. He wanted to make the Martinist order which was connected with Christian illuminism-a mystical society, "a school of moral chivalry that would strive to develop the spirituality of its members by the study of the invisible world and its laws through the exercise of devotion and intellectual assistance, and by the creation in each spirit of a faith that would be more solid by being based on by Papus’s son Phillipe d’Encausse.
"Deriving directly from Christian Illuminism, Martinism had to adopt the principles […]
The Order as a whole is above all a school of moral chivalry, striving to develop the spirituality of its members by studying the invisible world and its laws, by exercising devotion and intellectual assistance and by the creation in each spirit of a faith all the more solid as it is based on observation and on science.
Martinists do not do magic, either white or black. They study, they pray, and they forgive the insults as best they can.
Accused of being devils by some, clerics by others, and black magicians or insane by the gallery, we will simply remain fervent knights of Christ, enemies of violence and revenge, resolute synarchists, opposed to any anarchy from above or from below, in a word from the Martinists. ”
Papus, The Initiation, November 1906
, picasso #Pablo #Picasso #Crystal #Cubism
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