Ignorant people often make remarks about avant-garde artists saying that they cannot paint and that is why they depict blocks and squares. Picasso can serve as an example to prove falseness and primitiveness of this statement. From a very young age he was able to portray a life model on paper with the highest resemblance. The talent lucky to be born into creative environment (the father of the brightest personality in the 20th century painting was a drawing teacher and decorator) developed in a flash. The boy had hardly learned to speak before he started drawing. read and see more
This is, perhaps, the first period in the work of Picasso, in relation to which we can speak about the individuality of the creator, despite the still sounding notes of influence. The first creative uplift was provoked by a long-lasting depression: February 1901 in Madrid Picasso learned that his close friend Carlos Casagemas had died. Picasso later recalled: “I started painting in blue when I learned of Casagemas's death”. read and see more
In Picasso’s work, the Rose Period was relatively short (from the fall 1904 until the end of 1906) and quite uneven. A large number of pictures were marked with a bright color; we see the advent of pearl gray, ocher, pink and red tones; there appeared new topics, such as actors, acrobats, athletes, and became dominant. The Cirque Medrano that was located at the foot of Montmartre hill certainly did provide a lot of material for the artist. Melodrama in its many manifestations (the suits, the accented gestures), a variety of different people, both beautiful and ugly, young and adult, returned the artist to the world of slightly transformed, but real forms, dimensions and spaces; paintings were once again filled with life as opposed to the characters of the Blue Period. read and see more
The first work by Picasso, which turned him towards a new figurativeness, was the Portrait of Gertrude Stein, 1906. By repainting it 80 times, the artist was desperate to depict the writer in the classical style. The artist was ready for a new creative period and ceased to be interested in life models. This piece can be regarded as the first step towards shape deformation. read and see more
Before Cubism, the lifelikeness was the major problem in the European art. Art had been evolving several centuries without bringing this concept into question. Even the impressionists, who started a new chapter in the history of painting devoted to light and fixation of fleeting impressions, were faced with the problem: how to capture the world on canvas. read and see more
Cubism gradually became Picasso’s internally lived experience and liberated his brush. He later said: “When I think about it, I’d say I’m an artist without style”. “Style puts constraints on the artist, forcing a single viewpoint on things upon him, the same techniques, the same formula, year after year, his life long”. This, of course, was not the case of Picasso, the desperate daredevil of art. read and see more
The two factors triggered at the same time: Picasso’s new muse Marie-Therese Walter, whose “fascinating face” he desiderated to picture, immediately notifying his new female friend that “we will do great things together”, and the closeness to the circle of Andre Breton. It was in the gallery of Pierre in 1925 that Picasso first took part in a group exhibition of the Surrealists (before that, his works were presented at the personal exhibitions only). read and see more
In 1936, a Civil war between the freshly formed republican government and the fascist regime of General Franco broke out in Spain. Picasso did all he could to support the anti-fascists: his canvas was his battlefield, and his weapons were the brush and paints. read and see more
In the peace time, in 1946 Picasso had made the picturesque ensemble from 27 panels and pictures for a castle of the
noble family Grimaldy in Antibes, it is a town on the Mediterranean seaside of France. The panel in the first hall is named
"The joy of life" and all series is represented as harmony of nature with existence - it is the representation of fauns,
naked girls, centaurs, fairy-tale creatures.. read and see more
During the later period of his creature he often appealed to a woman
portrait (portraits of Jacqueline Roque). In 1960 Picasso had drawn the different variations of themes by famous
masters of art - Vela'zquez, Goya, Manet - in the free scandal cubism manner. see more
28 April Boady from Spain wrote: 'Surely this painting comes from a later period ? Definitely post WW1. The 1920's perhaps ?'
21 April daniel cardani from madrid wrote: 'There's no Femme nue/nu de dos I, that's simply a copy after the original, real one.'
08 April John Kean from North Cyprus wrote: 'I have found 3 versions so far of this painting online: i. mainly sepias, ii. mainly pinks and iii. sepia and dark pink (iii. maybe a poor copy of the second.'
09 July Kevin from Weare,nh wrote: 'Who currently owns this piece ?'
20 June amsg from ger wrote: 'which are the exact originals by velázquez and murillo?'
10 April Romero from Italy wrote: 'Dear Grace did you know realy where is? You know the owner? In very interested
03 April Nelly Zlateva from España wrote: 'Obra maestra! Gracias por compartir!'
12 May Mary Panvini from NY wrote: 'I purchased this piece being told it was an authentic lithograph, however, the colors are different than those shown on line. There is a COA, and I will send you photos if necessary.'
04 December Vivien Stein from Paris wrote: 'This painting looks odd. It is currently in the Museum Berggruen, but does anyone know its provenance? (The catalogue says: "purchased in 1996." That is not a provenance.)'
21 September Marissa from Paris wrote: 'Where is this painting housed? I saw it at the Musee du quai Branly. Is it there or somewhere else? Any help would be greatly appreciated.'
09 July Mouchy from F56220 PEILLAC wrote: 'Ou pouvons nous acheter une reproduction " baigneuses 1918" en couleurs avec le phare en arrière plan
30 November harsh chauhan from gorakhpur wrote: 'Very nice . I like it our painting'