Picasso. Victoria Charles
Чтение книги онлайн.
Читать онлайн книгу Picasso - Victoria Charles страница 3
Название: Picasso
Автор: Victoria Charles
Издательство: Parkstone International Publishing
Жанр: Иностранные языки
Серия: Mega Square
isbn: 978-1-78160-827-2
isbn:
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.
Le Moulin de la Galette
1900
oil on canvas, 90.2 × 117 cm
The Solomon R. Guggenheim Museum
Justin K. Thannhauser Foundation, New York
That is the way in which Picasso expressed how much his work was intertwined with his life; he also used the word “diary” with reference to his work. D.-H. Kahnweiler, who knew Picasso for over sixty-five years, wrote: “It is true that I have described his œuvre as “fanatically autobiographical”.
Frenzy
1900
pastel, 47.5 × 38.5 cm
private collection
That is the same as saying that he depended only on himself, on his Erlebnis. He was always free, owing nothing to anyone but himself.” Indeed, everything convincingly shows that if Picasso depended on anything at all in his art, it was the constant need to express his inner state with the utmost fullness.
Pierrot and a Dancer
1900
oil on canvas, 38 × 46 cm
private collection
One may compare Picasso’s œuvre with therapy; one may, as Kahnweiler did, regard Picasso as a Romantic artist. Let it also be noted that Picasso looked upon his art in a somewhat impersonal manner, took pleasure in the thought that the works, which he dated meticulously and helped scholars to catalogue, could serve as material for some future science.
Self-Portrait
1901
oil on canvas, 73.5 × 60.5 cm
private collection
Kahnweiler testifies that in his old age Picasso spoke with greater approval of these early paintings than of those done in Barcelona, where the Ruiz Picasso family moved in the autumn of 1895 and where Pablo immediately enrolled as a student of painting in the School of Fine Arts called La Lonja.
Two Figures in Profile and the Head of a Man, Studies
1901
oil and tempera on paper, 41.2 × 57.2 cm
The Hermitage, St. Petersburg
So as not to upset his father, Picasso spent two more years in there, during which time he could not but fall, albeit temporarily, under the deadening influence of academism, inculcated by the official school along with certain professional skills. “…I hate the period of my training at Barcelona,” Picasso confessed to Kahnweiler.
Le Gourmet
1901
oil on canvas, 92.8 × 68.3 cm
The National Gallery, London
However, the studio which his father rented for him, and which gave him a certain freedom from both school and the stifling atmosphere of family relations, was a real support for his independence.
It was here that Picasso summarized the achievements of his school years by executing his first large canvases: The First Communion (winter of 1895–1896) and Science and Charity (beginning of 1897).
Harlequin and His Companion
1901
oil on canvas, 73 × 60 cm
The Pushkin Museum of Fine Arts, Moscow
The latter received honourable mention at the national exhibition of fine arts in Madrid and was later awarded a gold medal at an exhibition in Málaga. His departure from home for Madrid in the autumn of 1897, supposedly to continue his formal education at the Royal Academy of San Fernando, in fact ushered in the period of post-study years – his years of wandering.
Child with a Pigeon
1901
oil on canvas, 73 × 54 cm
The National Gallery, London
Pablo Picasso’s wander-years consisted of several phases within a seven year period, from his initial departure to Madrid in 1897, to his final settling in Paris, artistic capital of the world, in the spring of 1904. To Picasso, Madrid meant first and foremost the Prado Museum, which he frequented more often than the Royal Academy of San Fernando in order to copy the Old Masters (he was particularly attracted by Velázquez).
The Absinthe Drinker
1901
oil on canvas, 73 × 54 cm
The Hermitage, St. Petersburg
It might be said that the most important events for Picasso in the Spanish capital were the harsh winter of 1897–1898 and the subsequent illness that symbolically marked the end of his “academic career”. In contrast, the time spent at Horta de Ebro – a village in the mountainous area of Catalonia, where he went to convalesce and where he remained for eight long months (until the spring of 1899) – was of such significance for Picasso that even decades later he would invariably repeat: “All that I know, I learnt in Horta de Ebro.”
The Absinthe Drinker
1901
oil on cardboard, 65.5 × 50.8 cm
collection Mrs Melville Hall, New York
The months spent in this village were significant not so much in the sense of artistic production as for their key role in the young Picasso’s creative biography, with its long process of maturation.
After СКАЧАТЬ