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Home , Chester Dale, Chicago Picasso, Child with a Dove, Cubist sculpture, Dove (Picasso), Edvard Munch

A Guide for Teachers

National Gallery of Art,Washington The Early Ye a r s 1892–1906

Teachers’ Guide

This teachers’ guide investigates three National G a l l e ry of A rt included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the ’s web site at h t t p : / / w w w. n g a . gov.

Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906

Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly , , and ceramics from the artistic atmosphere in as well as in . He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor. styles during his long career. The During this period his sympathy for exhibition The Early Years traces his social outcasts was reflected in his development from 1892-1906, just art, both in his subject matter — prior to the advent of . including blind beggars and destitute families — and in his color schemes. Picasso’s “Blue peri- Background on Picasso was born in Málaga on the od,” from 1901 to 1904, is represent- the Artist southern coast of Spain in 1881. He ed in the exhibition by Le Gourmet was exposed to art from a very (The Greedy Child) (1901) and Tragedy young age by his father, who was a (1903). painter and art instructor. After In 1905 Picasso’s works are charac- studying at various art schools terized by a new palette of roses or between 1892 and 1896, including russets, as well as a shift in subject academies in and Madrid, matter and form. Paintings from this he went on to the Royal Academy of “Rose period” often show transient San Fernando in Madrid during the fairground performers in contempla- winter of 1896-1897. Picasso soon tive moods. The focus is frequently became bored with academics and set on a group of figures who seem to himself up as an independent artist. function as a family or a band of In Barcelona in 1899 Picasso’s cir- vagabonds, as seen in the paramount cle of friends included young avant- work in this series, the large Family of garde artists and writers who traveled Saltimbanques. between Madrid, Barcelona, and Paris. Picasso also visited these cities and absorbed the local culture. His early works were influenced by old masters such as and Velázquez and by modern artists including , , and Henri de Toulouse-Lautrec. Picasso moved to Paris in 1904 and settled in a dilapi- dated section of , a work- ing-class quarter. This area was home to many young artists and writers, and Le Gourmet (The Greedy Child) Paris, summer/autumn 1901 oil on canvas 92.8 x 68.3 (36 1/2 x 26 7/8) ,Washington, Chester Dale Collection Le Gourmet (The Greedy Child) sug- gests the direction Picasso’s art was Discussion Questions to take between late 1901 and 1904. It anticipates the Blue period, when his palette became almost exclusively blue, his figures tragic, his mood 1. Dark lines in Le Gourmet (The melancholy, and his more Greedy Child) outline different shapes. expressive. Discuss how these lines unify the The young girl in this work is tip- painting. Le Gourmet (The ping her bowl to scrape out a last Greedy Child) morsel of food. She is shown with 2.This painting has various titles, Le Paris, summer/autumn just the barest necessities — a nearly Gourmand, Le Gourmet, and The Greedy 1901 empty bowl, a mug, and a scrap of Child. Discuss why the child might be oil on canvas bread on the table. The titles given considered greedy. How might these 92.8 x 68.3 (36 1/2 x 26 7/8) this painting seem to be ironic com- titles be ironic? National Gallery of ments on the child’s humble condi- Art,Washington, tion. 3. Discuss with students how color Chester Dale Picasso emphasized curving out- can be descriptive, symbolic, and sug- Collection lines in the painting by reinforcing gestive of a mood or emotion. them with thick brush strokes. The simplified shapes, flattened back- 4. Describe all the various shades of ground, and skewed perspective cre- blue in the painting using different ate a patterned effect that suggests adjectives. this scene is removed from the every- day world. The sense of unreality is greatly heightened by the pervasive blue tonality, which nearly overpowers every other color. Tragedy Barcelona, 1903 oil on panel 105.4 x 69 (41 1/2 x 27 1/8) National Gallery of Art,Washington, Chester Dale Collection The thin, barefoot, shabbily clothed most important painter of the six- figures in this Blue period composi- teenth century to work in Spain; and tion refer to physical deprivations, the innate human dignity that these which Picasso himself experienced as figures maintain in the face of tragedy he struggled to establish himself as an is characteristic of the paintings of artist. In addition to the cold and the great Spanish artist hunger of poverty, the work express- Diego Velázquez. es psychological suffering, which may reflect the dislocation that Picasso Tra gedy experienced as a young and destitute Barcelona,1903 foreigner in Paris. This powerful Discussion Questions oil on panel image conveys a sense of spiritual 105.4 x 69 (41 1/2 x alienation in keeping with the intellec- 1.What are the colors in nature for 27 1/8) tual discontent of his bohemian beaches? sand? sky? When is the National Gallery of Art,Washington, milieu. sky not blue? Does everyone agree Chester Dale Tragedy is one of a number of Blue on the choices, or is color Collection period paintings that capture the subjective? Ask students to identify mood of melancholy and isolation. personal color symbols. There is no specific narrative associ- ated with the painting. The man, the 2.Ask students for their ideas on how woman, and the child exemplify the to convey the theme of despair. depths of the human condition. In Consider facial expressions, body lan- fact, the ambiguous quality of the guage, colors, shapes, and the artistic work — so laden with meaning, yet media used. beyond literal interpretation — is another of its modern aspects. In an 3. Compare Tragedy and Le Gourmet era of few certainties, traditional sto- (The Greedy Child). Which work con- rytelling may have no longer been veys a greater sense of despair? seen to serve a meaningful artistic Why? function. The figures are carefully drawn, 4. How does Tragedy relate to other and the contours of their bodies works of art by Picasso in this time reveal much about their states of period? How does his art reflect mind. The faces, especially of the who Picasso was as a person, where males, are rendered in a way that sug- he came from, and what he encoun- gests Picasso’s academic training. His tered in his world politically, socially, Spanish roots are also evident: the and culturally? elongated proportions that emphasize the sadness of these figures are remi- niscent of the work of El Greco, the Paris,1905 oil on canvas 212.8 x 229.6 (83 3/4 x 90 3/8) National Gallery of Art,Washington Chester Dale Collection This scene of fairground performers acrobats are lost in their own was Picasso’s most significant work to thoughts and glance toward the date. The name of the painting comes woman, who sits alone, while the har- from the Italian words saltare (mean- lequin reaches out to the child behind ing “to leap”) and banco (the word his back. In his deft representations for “bench”– which refers to the of the various figures, Picasso manages stage on which the acrobats usually to portray not only the lifestyle of the Family of performed). Saltimbanques were the real saltimbanques but also the appar- Saltimbanques lowest order of acrobats; Picasso pic- ent melancholy mood of his friends Paris,1905 oil on canvas tured them as vagabonds with simple and the collective alienation of this 212.8 x 229.6 (83 3/4 x props in an empty, desertlike land- group. 90 3/8) scape. He was familiar with earlier Picasso’s huge canvas was a consid- National Gallery of Art, representations of clowns and harle- erable investment for the struggling Washington, quins from eighteenth-century art, artist and may explain why he repaint- Chester Dale Collection which frequently included figures from ed the subject at least four times, one the commedia dell’arte, a popular the- on top of the other. X-radiography atrical form featuring stock characters reveals the figures positioned differ- and their antics. These characters ently in earlier versions. Some of played significant roles in the paintings Picasso’s changes, including the of such artists as Tiepolo, the Le Nain, woman’s shoulders and hat, the color and Watteau. of the child’s ballet slippers, the red Picasso’s painting was inspired by a jester’s missing leg, and the harlequin’s group of performers he and his col- top hat, emerge as ghostlike outlines leagues befriended at the Cirque (pentimenti) in the final painting. Medrano, which had quarters near the artist’s Paris studio in Montmartre. Picasso was particularly drawn to the circus people, many of whom were his Spanish countrymen. Their agility and pursuit of the art of illusion delighted him, and their gypsylike lives touched the artist, who himself searched for new horizons. Picasso identified most closely with the clowns, those performers who masked their true selves with cos- tumes and makeup. In fact, Picasso portrayed himself as the harlequin in a diamond-patterned costume in Family of Saltimbanques. The jester and the Discussion 1. Study the composition of the paint- Questions ing. What kind of a geometric shape do the figures form? What makes your eye move from one part of the canvas to the other? Choose a color with many variations, such as red, and explain how pigments are mixed to make different hues and many pale tints and dark shades.

2.What do peoples’ glances in the painting tell you about their relation- ships? How does body language play a role? Is the grouping of figures sig- nificant?

3. Do you think Picasso had more than one set of meanings for the image of circus performers? Why? Why not? Activities •Create a line of dialogue for each of they interact? Create your own com- the characters in the painting that will position communicating ideas of rela- reveal their feelings. tionships.

•Pose class members in the exact •Research and study art critics of positions of the saltimbanques. Picasso’s time. Write your own Discover which positions are natural review of Picasso’s works. and comfortable and which have been altered to help the artist’s composi- tion.

•Ask students to make a painting using different shades of one color or analogous colors (colors that are next to each other on the color wheel). Have them select a subject that is appropriate for the colors they choose.

•Have students do a series of draw- ings of their bedroom in colored pen- cils or markers. The first drawing to be done at school, from memory; the second drawn at home, as realistically as possible.For the third, ask stu- dents to depict their bedrooms expressively, using line, color, and scale.

•Ask students to write a short poem or essay. Have them consider how they can find verbal equivalents to color and form, e.g., the cold, blue tones and taut, isolated figures of Picasso’s Tragedy.

•Study the relationship of the figures in Tragedy and Family of Saltimbanques. What are the kinds of relationships expressed by the figures. How do Art Masterpiece

Three Musicians by (1881-1973)

Picasso's cubist works established firmly that the work of art may exist as a significant object beyond any attempt to represent reality.

The was completed in 1921 and is the size oftwo large doors (6'7"-7'3"). This painting was done in an analytical cubism way and depicted musical instruments, still life, and his friends.

Picasso broke his subjects apart and mixed them together in an interlocking design of sharp edges and geometric shapes on a flat surface.

This new style became known as cubism. Pablo Picasso 1 Pablo Picasso

Pablo Picasso

Pablo Picasso in 1962

[1] Birth name Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso

Born 25 October 1881 Málaga, Spain

Died 8 April 1973 (aged 91) Mougins,

Spouse (1918–55) Roque (1961–73)

Nationality Spanish

Field Painting, Drawing, Sculpture, Printmaking, Ceramics

Training José Ruiz y Blasco (father), Real Academia de Bellas Artes de San Fernando

Movement Cubism

Works Les Demoiselles d'Avignon (1907) (1937) (1937)

Pablo Ruiz y Picasso, known as Pablo Picasso (Spanish: [ˈpaβlo piˈkaso]; 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France. As one of the greatest and most influential artists of the 20th century, he is widely known for co-founding the Cubist movement, the invention of constructed sculpture,[2][3] the co-invention of , 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 portrayal of the German during the . Picasso, and are commonly regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.[4][5][6][7] Picasso demonstrated extraordinary artistic talent in his early years, painting in a realistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with Pablo Picasso 2

different theories, techniques, and ideas. His revolutionary artistic accomplishments brought him universal renown and immense fortune, making him one of the best-known figures in 20th-century art.

Early life Picasso was baptized Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Crispiniano de la Santísima Trinidad, a series of names honoring various saints and relatives.[8] Added to these were Ruiz and Picasso, for his father and mother, respectively, as per Spanish law. Born in 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.[9] Picasso’s family was middle-class. 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".[10] From the age of seven, Picasso received formal artistic training from his father in figure drawing and . 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 . His son became preoccupied with art to the detriment of his classwork. The house where Picasso was born, in Málaga

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,[11] though paintings by him exist from later years. In 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria.[12] 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.[13] 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 impressed jury admitted him, at just 13. The student lacked discipline but made friendships that would affect him in later life. His father rented him a small room 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 Royal Academy of San Fernando, the country's foremost art school.[13] At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and quit attending classes soon after enrollment. Madrid, however, held many other attractions. The Prado housed paintings by Diego Velázquez, , and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements like the elongated limbs, arresting colors, and mystical visages are echoed in his later work. Pablo Picasso 3

Career beginnings

Picasso made his first trip to Paris in 1900, then the art capital of Europe. There, he met his first Parisian friend, the journalist and poet , 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 Portrait of , 1906, [15] Metropolitan Museum of Art, New work simply Picasso, while before he had signed Pablo Ruiz y Picasso. York City. When someone By 1905, Picasso became a favorite of the American art collectors Leo and commented that Stein did not look like her portrait, Picasso replied, Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became [14] "She will". collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.[16] Gertrude Stein became Picasso's principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris.[17] 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 . Michael and Sarah Stein became patrons of Matisse, while Gertrude Stein continued to collect Picasso.[18]

In 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, and the Cubism that they jointly developed. Kahnweiler promoted burgeoning artists such as André Derain, Kees Van Dongen, Fernand Léger, , and several others who had come from all over the globe to live and work in at the time.[19]

In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet , writer , and Gertrude Stein. Apollinaire was arrested on suspicion of

stealing the from the in 1911. Apollinaire pointed to his friend Portrait of Daniel-Henry Picasso, who was also brought in for questioning, but both were later Kahnweiler, 1910, The Art Institute exonerated.[20] of . Picasso wrote of Kahnweiler What would have become of us if Kahnweiler hadn't Personal life had a business sense?

In the early 20th century, Picasso divided his time between Barcelona and Paris. In 1904, in the middle of a storm, he met , a bohemian artist who became his mistress.[12] Olivier appears in many of his Rose period paintings. After acquiring some fame and fortune, Picasso left Olivier for Marcelle Humbert, whom he called Eva Gouel. Picasso included declarations of his love for Eva in many Cubist works. Picasso was devastated by her premature death from illness at the age of 30 in 1915.[21] Pablo Picasso 4

After , Picasso made a number of important relationships with figures associated with Serge Diaghilev's . Among his friends during this period were , Jean Hugo, Juan Gris and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with ’s troupe, for whom Picasso was designing a ballet, 's , in Rome; and they spent their honeymoon near Biarritz in the villa of the glamorous Chilean art patron Eugenia Errázuriz. Khokhlova introduced Picasso to high society, formal dinner parties, and all the social niceties attendant on Parade, 1917, curtain designed for the ballet the life of the rich in Paris. The two had a son, Paulo,[22] who Parade. The work is the largest of Picasso's paintings.-Metz, Metz, France, would grow up to be a dissolute motorcycle racer and chauffeur to his May 2012. 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 troup, he and collaborated on in 1920. Picasso took the opportunity to make several drawings of the composer.

In 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 that Picasso would one day marry her, and hanged herself four years after Picasso’s death. Portrait of Igor Stravinsky, c. 1920 Throughout his life Picasso maintained a number of mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women.

The photographer and painter was also a constant companion and lover of Picasso. The two were closest in the late 1930s and early 1940s, and it was Maar who documented the painting of Guernica.

War years and beyond

During the Second World War, Picasso remained in Paris while the Germans occupied the city. Picasso’s artistic style did not fit the Nazi ideal of art, so he did not exhibit during this time. Retreating to his studio, he continued to paint, producing works such as the Still Life with Guitar (1942) and (1944–48).[23] Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.[24] Around this time, Picasso took up writing as an alternative outlet. Between 1935 and 1959 he wrote over 300 poems. Largely except for a date and sometimes the location of where it was written (for example "Paris 16 May 1936"), these works were gustatory, erotic and at times scatological, as were his two full-length plays Desire Caught by the Tail (1941) and (1949).[25] In 1944, after the liberation of Paris, Picasso, then 63 years old, began a romantic relationship with a young art student named Françoise Gilot. She was 40 years younger than he was. Picasso grew tired of his mistress Dora Maar; Picasso and Gilot began to live together. Eventually they had two children: Claude, born in 1947 and Paloma, born Pablo Picasso 5

in 1949. In her 1964 book Life with Picasso,[26] Gilot describes his abusive treatment and myriad infidelities which led her to leave him, taking the children with her. This was a severe blow to Picasso. Picasso had affairs with women of an even greater age disparity than his and Gilot's. While still involved with Gilot, in 1951 Picasso had a six-week affair with Geneviève Laporte, who was four years younger than Gilot. Eventually, as evident in his work, Picasso began to come to terms with his advancing age and his waning attraction to young women. By his 70s, many paintings, ink drawings and prints have as their theme an old, grotesque dwarf as the doting lover of a beautiful young model. (1927–1986) worked at the Madoura Pottery in Vallauris on the , where Picasso made and painted ceramics. She became his lover, and then his second wife in 1961. The two were together for the remainder of Picasso’s life. His marriage to Roque was also a means of revenge against Gilot; with Picasso’s encouragement, Gilot had divorced her then husband, Luc Simon, with the plan to finally actually marry Picasso to secure the rights of her children as Picasso's legitimate heirs. However, Picasso had already secretly married Roque, after Gilot had filed for divorce. This strained his relationship with Claude and Paloma. By this time, Picasso had constructed a huge Gothic home, and could afford large villas in the south of France, such as Mas Notre-Dame-de-Vie on the outskirts of Mougins, and in the -Alpes-Côte d'Azur. He was an international celebrity, with often as much interest in his personal life as his art. In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau’s Testament of . In 1955 he helped make the film Le Mystère Picasso () directed by Henri-Georges Clouzot.

Death Pablo Picasso died on 8 April 1973 in Mougins, France, while he and his wife Jacqueline entertained friends for dinner. His final words were "Drink to me, drink to my health, you know I can't drink any more."[27] He was interred at the Chateau of Vauvenargues near Aix-en-Provence, a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1962. Jacqueline Roque prevented his children Claude and Paloma from attending the funeral.[28] Devastated and lonely after the death of Picasso, Jacqueline Roque took her own life by gunshot in 1986 when she was 59 years old.[29]

Children • Paulo (4 February 1921 – 5 June 1975) (Born Paul Joseph Picasso)—with Olga Khokhlova • Maya (5 September 1935 – ) (Born Maria de la Concepcion Picasso)—with Marie-Thérèse Walter • Claude (15 May 1947 –) (Born Claude Pierre Pablo Picasso) )—with Françoise Gilot • Paloma (19 April 1949 – ) (Born Anne )—with Françoise Gilot

Political views Aside from the several anti-war paintings that he created, Picasso remained personally neutral during World War I, the Spanish Civil War, and World War II, refusing to join the armed forces for any side or country. At the outbreak of the Spanish Civil War in 1937, Picasso was already in his late fifties. He was even older at the onset of World War II, and could not be expected to take up arms in those conflicts. As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either World War. In the Spanish Civil War, service for Spaniards living abroad was optional and would have involved a voluntary return to the country to join either side. While Picasso expressed anger and condemnation of Francisco Franco and fascists through his art, he did not take up arms against them. He also remained aloof from the Catalan independence movement during his youth despite expressing general support and being friendly with activists within it. In 1944 Picasso joined the French Communist Party, attended an international peace conference in , and in 1950 received the Stalin Peace Prize from the Soviet government,[30] But party criticism of a portrait of Stalin as Pablo Picasso 6

insufficiently realistic cooled Picasso’s interest in Soviet politics, though he remained a loyal member of the Communist Party until his death. In a 1945 interview with Jerome Seckler, Picasso stated: "I am a Communist and my painting is Communist painting. ... But if I were a shoemaker, Royalist or Communist or anything else, I would not necessarily hammer my shoes in a special way to show my politics."[31] His Communist militancy, common among continental intellectuals and artists at the time although it was officially banned in Francoist Spain, has long been the subject of some controversy; a notable source or demonstration thereof was a quote commonly attributed to Salvador Dalí (with whom Picasso had a rather strained relationship[32]): Picasso es pintor, yo también; [...] Picasso es español, yo también; Picasso es comunista, yo tampoco. (Picasso is a painter, so am I; [...] Picasso is a Spaniard, so am I; Picasso is a communist, neither am I.)[33][34][35][36][37][38] In the late 1940s his old friend the surrealist poet and Trotskyist[39] and anti-Stalinist André Breton was more blunt; refusing to shake hands with Picasso, he told him: "I don't approve of your joining the Communist Party nor with the stand you have taken concerning the purges of the intellectuals after the Liberation".[40] In 1962, he received the Lenin Peace Prize.[41] Biographer and art critic John Berger felt his talents as an artist were "wasted" by the communists.[42] According to Jean Cocteau's diaries, Picasso once said to him in reference to the communists: "I have joined a family, and like all families, it's full of shit".[43] He was against the intervention of the United Nations and the United States[44] in the and he depicted it in .

Art “Art is a lie that makes us realize the truth.” [45] — Pablo Picasso

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 (1905–1907), the African-influenced Period (1908–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). In 1939–40 the Museum of in New York City, under its director Alfred Barr, a Picasso enthusiast, held a major and highly successful retrospective of his principal works up until that time. This exhibition lionized the artist, brought into full public view in America the scope of his artistry, and resulted in a reinterpretation of his work by historians and scholars.[46]

Before 1901 Picasso’s training under his father began before 1890. His progress can be traced in the collection of early works now held by the in Barcelona, which provides one of the most comprehensive records extant of any major artist’s beginnings.[47] 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.[48] The academic 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."[49] In 1897 his realism became tinged with Symbolist influence, 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 , combined with his admiration for favorite old Pablo Picasso 7

masters such as El Greco, led Picasso to a personal version of in his works of this period.[50]

Blue Period

La Vie (1903),

The Old Guitarist (1903), Chicago Art Institute

Picasso’s Blue Period (1901–1904) consists of somber paintings rendered in shades of blue and blue-green, only occasionally warmed by other colors. This period’s starting point is uncertain; it may have begun in Spain in the spring of 1901, or in Paris in the second half of the year.[51] Many paintings of gaunt mothers with children date from this period. In his austere use of color 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 (1903),[52] now in the Cleveland Museum of Art.[53] The same mood pervades the well-known The Frugal Repast (1904),[54] 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. Pablo Picasso 8

Rose Period

The Rose Period (1904–1906)[55] is characterized by a more cheery style with orange and pink colors, 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 model for sculptors and artists, in Paris in 1904, and many of these paintings 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.

Pablo Picasso, Garçon à la pipe, (Boy with a Pipe), 1905, Rose Period

African-influenced Period

Picasso’s African-influenced Period (1907–1909) begins with the two figures on the right in his painting, Les Demoiselles d'Avignon, which were inspired by African artifacts. Formal ideas developed during this period lead directly into the Cubist period that follows.

Cubism

Analytic cubism (1909–1912) is a style of painting Picasso developed along with Georges Braque using monochrome brownish and neutral colors. Both artists took apart objects and "analyzed" them in terms of their shapes. Picasso and Les Demoiselles d'Avignon (1907), Braque’s paintings at this time have many similarities. Synthetic cubism , New York (1912–1919) was a further development of the genre, 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.

Classicism and In the period following the upheaval of World War I, Picasso produced work in a neoclassical style. This "" is evident in the work of many European artists in the 1920s, including André Derain, , , the artists of the movement and of the movement. Picasso’s paintings and drawings from this period frequently recall the work of Raphael and Ingres. During the 1930s, the minotaur replaced the harlequin as a common motif in his work. His use of the minotaur came partly from his contact with the surrealists, who often used it as their symbol, and it appears in Picasso’s Guernica. The minotaur and Picasso's mistress Marie-Thérèse Walter are heavily featured in his celebrated of .[56] Arguably Picasso's most famous work is his depiction of the German bombing of Guernica during the Spanish Civil War—Guernica. This large canvas embodies for many the inhumanity, brutality and hopelessness of war. Asked to explain its symbolism, Picasso said, "It isn't up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them."[57][58] Pablo Picasso 9

Guernica was on display in New York’s Museum of Modern Art for many years. In 1981, it was returned to Spain and was on exhibit at the Casón del Buen Retiro. In 1992 the painting was put on display in Madrid’s Reina Sofía Museum when it opened.

Later works

Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in mid-1949. In the 1950s, Picasso’s style changed once again, as he took to producing reinterpretations of the art of the great masters. He made a series of works based on Velazquez’s painting of . He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.

He was commissioned to make a maquette for a huge 50-foot (15 m)-high public sculpture to be built in Chicago, known usually as the . He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. What the figure represents is not known; it could be a bird, a horse, a woman or a totally abstract shape. The sculpture, one of the most recognizable landmarks in downtown Chicago, was The Chicago Picasso a 50' high unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the public . Donated by Picasso to the people of Chicago people of the city.

Picasso’s final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colorful and expressive, and from 1968 through 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime. Only later, after Picasso’s death, when the rest of the art world had moved on from abstract , did the critical community come to see that Picasso had already discovered neo-expressionism and was, as so often before, ahead of his time.

Commemoration and legacy Picasso was exceptionally prolific throughout his long lifetime. The total number of artworks he produced has been estimated at 50,000, comprising 1,885 paintings; 1,228 ; 2,880 ceramics, roughly 12,000 drawings, many thousands of prints, and numerous tapestries and rugs.[59] At the time of his death many of his paintings were in his possession, as he had kept off the art market what he did not need to sell. In addition, Picasso had a considerable collection of the work of other famous artists, some his contemporaries, such as Henri Matisse, with whom he had exchanged works. Since Picasso left no will, his death duties (estate tax) to the French state were paid in the form of his works and others from his collection. These works form the core of the immense and representative collection of the Musée Picasso in Paris. In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Málaga, Spain, the Museo Picasso Málaga. The Museu Picasso in Barcelona features many of his early works, created while he was living in Spain, including many rarely seen works which reveal his firm grounding in classical techniques. The museum also holds many precise and detailed figure studies done in his youth under his father’s tutelage, as well as the extensive collection of Jaime Sabartés, his close friend and personal secretary. Several paintings by Picasso rank among the most expensive paintings in the world. Garçon à la pipe sold for US$104 million at Sotheby's on 4 May 2004, establishing a new price record. Dora Maar au Chat sold for US$95.2 million at Sotheby’s on 3 May 2006.[60] On 4 May 2010, Nude, Green Leaves and Bust was sold at Christie's for $106.5 million. The 1932 work, which depicts Picasso's mistress Marie-Thérèse Walter reclining and as Pablo Picasso 10

a bust, was in the personal collection of Los Angeles philanthropist Frances Lasker Brody, who died in November 2009. Christie's won the rights to auction the collection against London-based Sotheby's. The collection as a whole was valued at over $150 million, while the work was originally expected to earn $80 million at auction.[61] There were more than half a dozen bidders, while the winning bid was taken via telephone.[62][63] The previous auction record ($104.3 million) was set in February 2010, by 's Walking Man I.[64] As of 2004, Picasso remains the top ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.[65] More of his paintings have been stolen than those by any other artist;[66] the Art Loss Register has 550 of his works listed as missing.[67] The Picasso Administration functions as his official Estate. The U.S. copyright representative for the Picasso Administration is the .[68] In the 1996 movie , Picasso is portrayed by actor .

Recent major exhibitions Picasso: Masterpieces from the Musée National Picasso, Paris, an exhibition of 150 paintings, sculptures, drawings, prints and photographs from the Musée National Picasso in Paris. The exhibit touring schedule includes: • 8 October 2010 – 17 January 2011, Seattle Art Museum, Seattle, Washington, US. • 19 February 2011 – 15 May 2011, Virginia Museum of Fine Arts, Richmond, Virginia, US. • 11 June 2011 – 9 October 2011, M. H. de Young Memorial Museum, San Francisco, California, US.[69] • 12 November 2011 – 25 March 2012, Art Gallery of New South Wales, Sydney, Australia.[70] • 28 April 2012 – 26 August 2012, Art Gallery of Ontario, Toronto, Ontario, Canada.

Postage stamp, USSR, Musée Picasso, Paris, (Hotel Salé, 1659) Picasso sculpture in 1973. Picasso has been Halmstad honored on stamps worldwide.

Notes

[1] "On-line Picasso Project" (http:/ / picasso. shsu. edu/ index. php?view=BioIndex& year=1881& quarter=4). Picasso.shsu.edu. . Retrieved 26 August 2010.

[2] "''The Guitar,'' MoMA" (http:/ / www. moma. org/ collection/ browse_results. php?criteria=O:TA:E:ex4620& page_number=3&

template_id=1& sort_order=1). Moma.org. . Retrieved 3 February 2012.

[3] "Sculpture, Tate" (http:/ / www. tate. org. uk/ collections/ glossary/ definition. jsp?entryId=267). Tate.org.uk. . Retrieved 3 February 2012.

[4] ": Matisse Picasso" (http:/ / www. tate. org. uk/ modern/ exhibitions/ matissepicasso/ ). Tate.org.uk. . Retrieved 13 February 2010.

[5] Adrian Searle (7 May 2002). "A momentous, tremendous exhibition" (http:/ / www. guardian. co. uk/ culture/ 2002/ may/ 07/ artsfeatures). Guardian (UK). . Retrieved 13 February 2010.

[6] "Trachtman, Paul, Matisse & Picasso, Smithsonian, February 2003" (http:/ / www. smithsonianmag. com/ arts-culture/ matisse. html). Smithsonianmag.com. . Retrieved 13 February 2010.

[7] "Duchamp's urinal tops art survey" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 4059997. stm). news.bbc.co.uk. 1 December 2004. . Retrieved 10 December 2010.

[8] The name on his baptismal certificate differs slightly from the name on his birth record. On-line Picasso Project (http:/ / picasso. shsu. edu/ ) The Artwork of Page 1 of 9

The Artwork of Pablo Picasso This page is here to help students who are studying Spanish (at an intermediate/upper level) in a high school classroom. It is important for Students to not only learn the language, but also get a taste of Spanish history and culture. There are many important and very famous Spanish artists, and Pablo Picasso is one that many High School classes learn about. Pablo Picasso had a very interesting life and created some amazing pieces of artwork. He went through various stylistic periods throughout his career as an artist and I hope that this page helps you to understand a little bit more about each of those periods.

Pablo Picasso 1881-1973 Picasso was born in Malaga on October 25, 1981. Picasso’s father, José Ruiz Blasco, was an art teacher. Pablo Picasso was a Spanish painter and sculptor who had many styles and techniques throughout his career. Picasso had a love for art at an early age, creating his first paintings at the age of 10. At age 15 he attended Barcelona's School of Fine

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Arts. Throughout this life he completed over 20,000 pieces of art. Before 1898 Picasso signed all his paintings with both is father’s and mother’s maiden names (Ruiz and Picasso) but after 1901 he used only his mother’s name (Picasso) to sign his work. The Picture on the left is a photograph of Picasso. The Picture on the left is a photograph of Pablo Picasso. It is important for students to have a picture to link with the person they are learning about.

“Early Work” Other examples from Picasso’s Early Period Child with a Picasso began painting at a very early age. His early period consists of many paintings that when

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compared to the rest of his works appear very simple. Paintings from his early period show his capabilities at that point in his life. The Picture on the left shows a painting from Picasso’s early work. was probably painted around 1901 while Picasso was in Paris. Some people believe that Picasso painted this while remembering his childhood. Picasso used to watch his father paint doves. Child with a Dove closely borders Picasso’s Blue Period. Students should look for a very simplistic style.

“Blue Period” Other examples from Picasso’s Blue Period The Tragedy Picasso visited Paris many times during his early career,

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but finally settled there in 1904. Picasso’s Blue Period can usually be pointed out because of the focus of shades of blue. Most of these paintings are sad, focusing on human misery. He paints the blind, beggars, alcoholics, and prostitutes. One of Picasso’s friends committed suicide during this time, and it may have been from this grief and sadness that Picasso chose such emotional subjects for his paintings. The painting on the left really shows all of these characteristics. During this time Picasso was still very young and away from home for the first time. The picture on the left shows one of Picasso’s paintings from

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his Blue Period. Students should look for the color blue as the main focus and subjects that fit the description above.

“Rose Period” Other Examples from Picasso’s Rose Period The Girl with a Goat The painting on the left is from Picasso’s Rose Period. From 1905 to 1906 Picasso began to paint in much lighter colors, usually in rose or beige shades. His subject matter also lightened up quite a bit. Some critics link this with a new friendship Picasso found in Fernande Olivier. Olivier had a large influence on Picasso’s style, themes and mood of his work. During the rose period he painted many pictures of clowns and circus performers. During this time

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Picasso went to the circus at least once a week. During this period Picasso also painted many portraits of friends he made while in Paris. The Picture on the left shows a painting from Picasso’s Rose Period. Students should look for beige or rose colors and/or circus performers as the main subject.

“Cubism” Other examples of Picasso’s work with Cubism The Three Musicians Picasso went through various phases of Cubism, including Analytic Cubism and Synthetic Cubism. During his Cubism phase Picasso played around with color a lot, using many fun, bright colors. He enjoyed painting musical instruments,

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still-life and portraits of friends. Cubism was not understood at first, because it was almost non- understandable to the viewer. Picasso sometimes painted in puzzle-form, but put the pieces together in the wrong order. Today Picasso’s cubism paintings are some of his most famous and liked artwork. The Picture on the left shows The Three Musicians, which is very famous and well known painting from Picasso’s Cubism period. Students should look for bright colors and objects that are drawn with a cubic, instead of realistic, style.

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“Late Work” Other examples of Picasso’s Late work L’Aubade During the late period of Picasso’s career he produced more work than had at any other time during his career. Not only were each of his paintings usually dated by month and year, they were sometimes marked with a roman numeral indicating that more than one piece was created that same day. Many of Picasso’s later paintings were based on great artists of the past. Picasso had a showing at the Louvre, in Paris, honoring his 90th birthday. Before this no artist had been given an exhibit here while they were still alive. ‘ The Picture on the left shows a painting from Picasso’s late work collection. Students should look for a mix between

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cubism and flowing lines to create images that are unique and unlike any other of Picasso’s works.

For more information on the works of Pablo Picasso Click Here

All information and pictures were gathered from the following websites: http://www.artchive.com/artchive/P/picasso_blue.html & http://www.mcs.csuhayward.edu/~malek/Artfolder/Pablo.html

Created by: Jeanine VanSise Last Modified: November 05, 2005

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Three Musicians, 1921 Pablo Ruiz y Picasso, Spanish Oil on canvas 80 1/2 x 74 1/8 inches (204.5 x 188.3 cm) Framed: 82 1/2 x 76 1/2 x 2 1/2 inches (209.6 x 194.3 x 6.4 cm) A. E. Gallatin Collection, 1952 1952-61-96

About This Painting

Who are the three masked musicians staring out at us from this painting? Luckily, their costumes and the objects they hold provide some clues. The Spanish artist Pablo Picasso has portrayed himself and his close friend, the poet Guillaume Apollinaire (gee-OHM ah-po-lee-nair), as popular characters from European theater and carnival traditions. Apollinaire, who had recently died of wounds he received in World War I and an illness, appears in the center as (pee-air-oh), a mime, playing a clarinet. On the left, Picasso depicts himself with a violin under his chin, wearing a Harlequin (clown) costume covered with bright red and yellow triangles, the colors of the Spanish flag. A third friend, the poet Max Jacob, is dressed in the traditional brown robe of a monk, holding an accordion in one hand and a glass in the other. Picasso painted Three Musicians soon after the men’s close friendship ended due to Apollinaire’s death and Jacob’s decision to enter a monastery.

This abstract style of painting, known as Cubism, resulted from Picasso’s innovative experiments depicting people and objects from different angles while using simple shapes. In Three Musicians, he painted the shapes to look like layers of cut and pasted paper, a technique known as collage. He placed the figures in a shallow, stagelike space, perhaps influenced by the theater sets and costumes he was designing at the time. Like memories, some shapes are filled with dark, dull colors or are partially hidden, while others are bright and bold, perhaps expressing the artist’s longing for the happy, fun-filled days that he, Apollinaire, and Jacob had spent together.

This object is included in Learning to Look: 20 Works of Art Across Time and Cultures, a teaching kit developed by the Division of Education and made possible by the Comcast Foundation, The Delphi Project Foundation, and Reliance Standard Life Insurance Company.

For more information, please contact Education: School & Teacher Programs by phone at (215) 684-7580, by fax at (215) 236-4063, or by e-mail at [email protected].

Looking Questions

• How many people do you see? What are they wearing? Look for a violin, clarinet, accordion, and drinking glass. • What kind of music could they be playing? • Do you think they are friends? Why or why not? • How many red and yellow triangles can you see? Look for more triangles. What other shapes, lines, and patterns can you find? • Where are the brightest colors? The darkest? • How is this painting like a collage?

Three Musicians Pablo Picasso (Spanish, 1881–1973)

Publication Excerpt: The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 101

At the left of a bare and boxlike space, a masked Pierrot plays the clarinet. At the right, a singing monk holds sheet music. And in the center, strumming a guitar, is a Harlequin, in Picasso's art a recurring stand-in for the artist himself.

Pierrot and Harlequin are stock characters in the old Italian comic theater known as commedia dell'arte, a familiar theme in Picasso's work. The painting, then, has a whimsical side, epitomized by the near- invisible dog: its is about halfway up the canvas on the left, one of several subtle browns, and we can also make out front paws, a hind leg, and a jaunty tail popping up between Harlequin's legs. Overall, though, the work's somber background and large size make the musicians a solemn, even majestic trio.

The intricate, jigsaw-puzzle-like composition sums up the Synthetic Cubist style, the flat planes of unshaded color recalling the cutout and pasted paper forms with which the style began. These overlapping shapes are at their most complex at the center of the picture, which is also where the lightest hues are concentrated, so that an aura of darkness surrounds a brighter center. Along with the frontal poses of the figures, this creates a feeling of gravity and monumentality, and gives Three Musicians a mysterious, otherworldly air. PABLO PICASSO 1891-1973

Pablo Picasso • Born Pablo Ruiz - in Malaga, Spain in 1881. Later used mother’s name. • Father was painter & art instructor; encouraged Pablo’s art • At 11, Pablo enrolled in Fine Arts school; studied at academies in Spain • Moved to Paris in early 1900s, lived there most of the rest of his life • Was part of the “avante-garde” • Made art in many different styles, different subject matter; went through various stylistic periods; worked in many mediums – painting, sculpture, ceramics, drawing, collage • Developed a style called Cubism in early 1900s; also pioneered collage • Created over 22,000 pieces of art in his lifetime • Considered one of the most important modern artists. First artist to have an exhibit at Louvre while living. One painting $104 million • Married twice, had 4 children • Died at age 91, in 1973 Blue Period 1901-1904

The Tragedy

Blue Period The Visit (Two Sisters)

• Began after close friend died • Use of blue tones • Sad subjects, poor people, people in despair

The Old Guitarist Rose Period 1905-1906

Rose Period

Acrobat and Young Harlequin

• Painted in lighter Acrobat on a Ball colors, warm tones • Happier subject matter • Many portrayals or circus performers CUBISM – 1908

• An early abstract style • Expression of space in geometrical terms – sculptural sense of space • First, Analytic Cubism • Later, Synthetic Cubism Analytical Cubism • Objects broken into components • Could show different viewpoints Factory in Horta de Ebbo simultaneously Portrait of • Showed the “facts” of an object • Mostly neutral colors

Synthetic Cubism • Beginning about

1912 Harlequin • – some actual with objects pasted onto Composition, Bowl of Fruit and Sliced Pear canvas, some painted • More colorful

Guitar, Sheet Music, and Wine Glass

Three Musicians

Oil on canvas – size of 2 doors Where are the 3 musicians? • What instruments are they playing? • What is under the table? • What patterns are repeated? • How does he show depth? • Does he convey perspective? Three Musicians – Elements

Style – Late cubist (synthetic cubism) use of sharp angles, interlocking geometric shapes – a collage Elements of Style Simple design Contrast Path of movement Patterns Flattened perspective Painting Title: Three Musicians 1921

Three Musicians. Oil on canvas - 200.7 x 222.9 cm Three Musicians – or Fontainebleau, 1921. Oil Musicians wearing Masks. on canvas, 6′ 7″ x 7′ 3 3/4″ Fontainebleau, 1921. Oil (200.7 x 222.9 cm). on canvas, 6′ 7″ x 7′ 3 3/4″ (203. x 188 cm).

CLASS PROJECT

• Geometric collage of your choice of subject, using paper and/or fabric • Examples: your bedroom, your friend, your pet, music, your teacher • Spend some time planning it out first • Glue it down • Give it a title