DOCSLIB.ORG

1 Pablo Ruiz Picasso Chronology (1881-1973) . 1881

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Pablo Ruiz Picasso Chronology (1881-1973) . 1881 PABLO RUIZ PICASSO CHRONOLOGY (1881-1973) . 1881, 25th October | Born in Malaga, the first-born son of María Picasso López and José Ruiz Blasco, painter, teacher at the San Telmo School of Fine Arts and curator at the Municipal Museum. 1891-1895 | The Ruiz-Picasso family reside in Corunna where the father won a place as a teacher at the Guarda School of Fine Arts, and where Picasso starts his art studies in 1892. 1895 | Picasso’s first visit to the Prado Museum in Madrid. After spending the summer in Malaga, the Ruiz-Picassos set up home in Barcelona. He takes the entrance examination for the Llotja School of Fine Arts where he studies for two years. 1897 | He presents Science and Charity at the Fine Arts General Exhibition in Madrid. He begins his studies at the San Fernando Academy of Fine Arts in Madrid at his family’s request, but before long leaves the Academy. Frequent visits to the Prado Museum. 1898 | He falls ill with scarlet fever. He returns to Barcelona and moves to Horta d’Ebre (now Horta de Sant Joan (Terra Alta, Tarragona)), on the invitation of his friend Manuel Pallarès. ‘Everything I know I learnt it in the town of Pallarès’, Picasso would say years later. 1899 | He returns to Barcelona and frequents the Quatre Gats tavern, a meeting place for avant-garde art. He shares discussions with Carles Casagemas, Jaume Sabartés, the Reventós brothers, the Soto brothers, the Cardona brothers and Joan Vidal Ventosa 1900 | First individual exhibition at the Quatre Gats. In September, he makes his first trip to Paris with Carles Casagemas, on the occasion of the Universal Exhibition in Paris where a work by the artist, Last moments, was being shown. He meets Pere Mañach, his first dealer, and has his first contact with the gallery owner Berthe Weill. He returns to Barcelona at the end of December and celebrates New Year in Malaga with Casagemas. 1901 | Move to Madrid. Casagemas commits suicide in Paris. He founds the magazine Arte Joven with Francesc d’Assís Soler which had a print run of 5 editions. He returns to Barcelona and makes a second trip to Paris. From June 25th to July 14th he has his first exhibition in Paris at the Vollard Gallery alongside the Basque painter Francisco Iturrino. He meets the poet Max Jacob. Beginning of the Blue Period. 1902 | Return to Barcelona and third trip to Paris, where he lives and works short of money in Max Jacob’s room. 1903 | Return to Barcelona. He begins his studies for La Vie (Life), a masterpiece from the Blue Period, presently housed in the Cleveland Museum of Art. 1904 | His fourth and final trip to Paris where he moves to Montmartre in the building known as ‘Bateau-Lavoir’ at 13 Rue de Ravignan. He meets Fernande Olivier who would become his companion until 1912. He also meets the poets Guillaume Apollinaire and André Salmon and frequents the Medrano Circus. 1905 | Start of the Rose Period. He spends three weeks during summer at the house of writer Tom Schilperoort in Schoorl (Holland). He meets brother and sister Leo and Gertrude Stein. 1906 | The Steins introduce him to Henri Matisse. A stay in Gósol (Berguedà, Lleida). Return to Paris. 1907 | He creates Les Demoiselles d’Avignon, the starting point for Cubism. He meets Daniel-Henri Kahnweiler, who is to become his main dealer, and Georges Braque. 1908-1914 | Braque and Picasso develop Cubism. 1909 | He comes to Barcelona with Fernande and spends the summer at Horta de Sant Joan. He returns to Paris and changes address – leaving Bateau-Lavoir and moving to 11 Boulevard Clichy. 1910 | Picasso and Fernande spend a few days in summer in Barcelona and then Cadaqués. Museu Picasso de Barcelona Carrer Montcada 15-23 08003 Barcelona tel 93 256 30 00 fax 93 315 01 02 [email protected] 1 1911 | In summer, Picasso goes to Céret where he meets with Frank Burty Haviland and Manolo Hugué. Braque also moves to Céret. In autumn, he meets Eva Gouel (Marcelle Humbert) who would become his companion. 1912 | He makes his first collages and exhibits at the Dalmau Galleries in Barcelona. After separating from Fernande, he begins his life with Eva at a new address at 242 Boulevard Raspail. 1913 | His father dies. Brief stay in Barcelona to attend the funeral. 1914 | He spends the summer months in Avignon. Braque and Derain are mobilised by the war which represents the end of Cubism as a movement. He returns to Paris with Eva in October. 1915 | Eva Gouel passes away. 1916 | Jean Cocteau introduces him to Serge de Diaghilev, director of the Ballets Russes who offers him work on the ballet Parade. 1917 | A trip to Italy with Cocteau to work with the Ballets Russes. He meets the ballerina Olga Khokhlova. Parade premieres in Paris with the curtain, decoration and wardrobe by Picasso. Trip to Barcelona from June to November. 1918 | Marriage to Olga Khokhlova in Paris. They move to 23 Rue La Boétie. ‘Matisse-Picasso’ exhibition at the Paul Guillaume Gallery in Paris, organised by the dealer Rosenberg. 1919 | Trip to London to prepare The Three-Cornered Hat, the new Ballets Russes production. 1920 | Pulcinella premieres in Paris – the third collaboration with Diaghilev’s company. Joan Miró visits Picasso’s studio for the first time leading to their good friendship. 1921 | His son Paulo is born. 1923 | He meets the poet and critic André Bréton, head of the surrealist movement. He spends the summer at Cap d’Antibes. 1924 | The ballet Mercure opens in Paris with decoration and wardrobe by Picasso. 1925-1938 | Although not participating directly with Surrealism, his friendship with writers at the time often involves him in group meetings. 1927 | He meets Marie-Thérèse Walter, who he has a relationship with until 1936 and a daughter, Maya. 1926 | Salvador Dalí visits Picasso on his first trip to Paris. 1928 | His collaboration with Juli González begins, who starts him on metal sculpture. 1931 | He moves to Boisgeloup Castle in Normandy, which he had bought a year earlier, where he sets up his sculpture studio. 1932 | Christian Zervos publishes the first volume of his monumental catalogue of Picasso’s work (32 volumes). The Barcelona Museums of Art buy the Lluís Plandiura Collection containing 22 works by Picasso. 1934 | Summer holidays in Spain: San Sebastián, Madrid, Toledo and Barcelona. 1935 | Separates from Olga and birth of Maya, Picasso’s daughter with Marie-Thérèse Walter. Sabartés becomes his private secretary and his friendship with Paul Éluard begins. 1936 | He sides with the Republicans at the start of the Spanish Civil War. He moves to Mougins and is visited by the Éluards, the Zervos, Roland Penrose, Lee Miller, Man Ray and Dora Maar, a photographer linked to the surrealist movement and who is to become his new companion. Named honorary director of the Prado Museum in Madrid. 1937 | He sets up his studio at 7 Rue des Grands Augustins in Paris. On April 26th, the German air force bombs the town of Guernica (Basque Country). From May to June he works on the painting Guernica to be presented at the Spanish Republican Pavilion at the International Exhibition in Paris. Trip to Switzerland and a visit to Paul Klee. Museu Picasso de Barcelona Carrer Montcada 15-23 08003 Barcelona tel 93 256 30 00 fax 93 315 01 02 [email protected] 2 1938 | Death of his mother, María Picasso López, in Barcelona. 1939 | He moves to Royan with Dora Maar and Sabartés. He decides not to return to Spain until the Franco regime ends. 1941 | He writes his first play, Desire Caught by the Tail. 1943 | He meets Françoise Gilot, a young painter who would be his companion for two years and mother to two of his children – Claude and Paloma. 1944 | L’Humanité announces his affiliation to the French Communist Party. 1945 | He begins his studio collaboration with Fernand Mourlot where he explores the creative possibilities of lithography. 1946 | Exhibition at MoMA in New York – ‘Fifty Years of his Art’. Picasso works on the Grimaldi Palace which, years later, would become the Picasso Museum of Antibes. 1947 | Birth of his son Claude by Françoise Gilot. They go to live in Vallauris (Provence), where he begins his pottery work. 1948 | He takes part in the Wroclaw Congress of Intellectuals for Peace (Poland) , giving a speech in favour of Pablo Neruda's release. 1949 | Birth of Paloma, Picasso’s daughter by Françoise Gilot. 1953 | Picasso and Françoise separate. He meets Jacqueline Roque who would become his companion until his death. 1955 | Death of Olga Khokhlova. He purchases La Californie villa in Cannes, where he moves with Jacqueline. 1957 | He paints Las Meninas, which he would donate to the Picasso Museum in Barcelona in 1968. 1958 | He purchases Vauvenargues Castle, near Aix-en-Provence. 1960 | On Picasso’s own volition, Jaume Sabartés, Picasso’s personal friend and secretary, proposes the creation of a museum dedicated to the artist’s work to Barcelona City Council. On July 27th, the Picasso Museum in Barcelona is founded in agreement with the City Council. 1961 | Picasso and Jacqueline Roque marry in Vallauris and move to Notre-Dame-de-Vie in Mougins. 1962 | Intense engraving work for the next two years. 1963, 9th March | The Museu Picasso in Barcelona opens to the public with the name The Sabartés Collection since, due to Picasso’s opposition to the Franco regime, it is impossible to open a museum with his name. The museum houses the personal collection of Sabartés and the Picasso works owned by the Barcelona Museums of Art.
Load more

Recommended publications
  • El Ballet De Parade De Picasso Y Su Papel En La Estética Cubista De La Galería De L’Effort Moderne
    El ballet de Parade de Picasso y su papel en la estética cubista de la galería de L’Effort Moderne Belén Atencia Conde-Pumpido Universidad de Málaga [email protected] RESUMEN: Tras el estallido de la Primera Guerra Mundial, los artistas parecen haberse alejado de la estética cubista en pos de un clasicis- mo más acorde con la situación político-social del momento. Sin embargo, Léonce Rosenberg aglutinará a una serie de artistas cubistas en torno a una nueva galería, L’Effort Moderne, la cual aún no es conocida ni por el gran público ni por los críticos de arte. En este contexto, y de manera independiente a la galería de Rosenberg, Picasso presenta su último trabajo: los decorados de Parade, realizados para el empresario de ballets rusos Serge Diaghilev y con una decidida estética cubista que beneficiará, sin pretenderlo, la propaganda orquestada por Rosenberg para la inauguración de su galería. PALABRAS CLAVE: Cubismo, Parade, Picasso, Léonce Rosenberg, Diseños, L’Effort Moderne. The Ballet of Parade and its Significations in Cubism Aesthetic of the Galerie L’Effort Moderne ABSTRACT: After the outbreak of the First World War, the artists seem to step away from the cubist aesthetic toward a classicist style which better reflected the socio-political situation at the time. However, Léonce Rosenberg gathers a series of cubist artists around a new gallery, L’Effort Moderne, which is not yet acknowledged by the general public, nor by the art critics. In this context and independently from Rosen- berg’s gallery, Picasso presents his last work: the set designs for Parade made for the Russian ballet impresario Serge Diaghliev and with a decided cubist aesthetic that will unintentionally benefit Rosenberg’s propaganda for the opening of his gallery.
    [Show full text]
  • List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
    List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Self-portrait Date: 1918-1920 Medium: Graphite on watermarked laid paper (with LI countermark) Size: 32 x 21.5 cm Accession: n°00776 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object has a complete provenance for the years 1933-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Mother with a Child Sitting on her Lap Date: December 1947 Medium: Pastel and graphite on Arches-like vellum (with irregular pattern). Invitation card printed on the back Size: 13.8 x 10 cm Accession: n°11684 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; Estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object was made post-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Little Girl Date: December 1947 Medium: Pastel and graphite on Arches-like vellum.
    [Show full text]
  • Pablo Picasso's 1954 Portrait of Muse, Jacqueline Roque, to Highlight Christie's November Evening Sale of Impressionist &
    PRESS RELEASE | N E W Y O R K FOR IMMEDIATE RELEASE: 14 SEPTEMBER 2017 PABLO PICASSO’S 1954 PORTRAIT OF MUSE, JACQUELINE ROQUE, TO HIGHLIGHT CHRISTIE’S NOVEMBER EVENING SALE OF IMPRESSIONIST & MODERN ART To be Sold in New York, 13 November 2017 Pablo Picasso (1881-1973), Femme accroupie (Jacqueline), Painted on 8 October 1954 Oil on canvas, 57 1/2 x 44 7/8 in. | Estimate: $20-30 million © 2017 Estate of Pablo Picasso / Artists Rights Society (ARS), New York New York – Christie’s will offer Pablo Picasso’s Femme accroupie (Jacqueline), painted on October 8, 1954 as a central highlight of its Evening Sale of Impressionist and Modern Art on 13 November in New York. Marking its first time at auction, Femme accroupie (Jacqueline) comes from a private collection, and is estimated to sell for $20-30 million. The work will be on public view at Christie’s London from 16 - 19 September, and at Christie’s Hong Kong from 28 September - 3 October. Christie’s Global President, Jussi Pylkkanen, remarked, “Jacqueline was a beautiful woman and one of Picasso’s most elegant muses. This painting of Jacqueline hung in Picasso’s private collection for many years and has rarely been seen in public since 1954. It is a museum quality painting on the grand scale which will capture the imagination of the global art market when it is offered at Christie’s New York this November.” The brilliant primary colors in Femme accroupie (Jacqueline) illustrate a sunny day in the South of France during early autumn, 1954.
    [Show full text]
  • Page 355 H-France Review Vol. 9 (June 2009), No. 86 Peter Read, Picasso and Apollinaire
    H-France Review Volume 9 (2009) Page 355 H-France Review Vol. 9 (June 2009), No. 86 Peter Read, Picasso and Apollinaire: The Persistence of Memory (Ahmanson-Murphy Fine Arts Books). University of California Press: Berkeley, 2008. 334 pp. + illustrations. $49.95 (hb). ISBN 052-0243- 617. Review by John Finlay, Independent Scholar. Peter Read’s Picasso et Apollinaire: Métamorphoses de la memoire 1905/1973 was first published in France in 1995 and is now translated into English, revised, updated and developed incorporating the author’s most recent publications on both Picasso and Apollinaire. Picasso & Apollinaire: The Persistence of Memory also uses indispensable material drawn from pioneering studies on Picasso’s sculptures, sketchbooks and recent publications by eminent scholars such as Elizabeth Cowling, Anne Baldassari, Michael Fitzgerald, Christina Lichtenstern, William Rubin, John Richardson and Werner Spies as well as a number of other seminal texts for both art historian and student.[1] Although much of Apollinaire’s poetic and literary work has now been published in French it remains largely untranslated, and Read’s scholarly deciphering using the original texts is astonishing, daring and enlightening to the Picasso scholar and reader of the French language.[2] Divided into three parts and progressing chronologically through Picasso’s art and friendship with Apollinaire, the first section astutely analyses the early years from first encounters, Picasso’s portraits of Apollinaire, shared literary and artistic interests, the birth of Cubism, the poet’s writings on the artist, sketches, poems and “primitive art,” World War I, through to the final months before Apollinaire’s death from influenza on 9 November 1918.
    [Show full text]
  • Famous Paintings of Picasso Guernica
    Picasso ArtStart – 7 Dr. Hyacinth Paul https://www.hyacinthpaulart.com/ The genius of Picasso • Picasso was a cubist and known for painting, drawing, sculpture, stage design and writing. • He developed cubism along with Georges Braque • Born 25th Oct 1881 in Malaga, Spain • Spent time in Spain and France. • Died in France 8th April, 1973, Age 91 Painting education • Trained by his father at age 7 • Attended the School of Fine Arts, Barcelona • 1897, attended Madrid's Real Academia de Bellas Artes, He preferred to study the paintings of Rembrandt, El Greco, Goya and Velasquez • 1901-1904 – Blue period; 1904-1906 Pink period; 1907- 1909 – African influence 1907-1912 – Analytic Cubism; 1912-1919 - Synthetic Cubism; 1919-1929 - Neoclacissism & Surrealism • One of the greatest influencer of 20th century art. Famous paintings of Picasso Family of Saltimbanques - (1905) – National Gallery of Art , DC Famous paintings of Picasso Boy with a Pipe – (1905) – (Private collection) Famous paintings of Picasso Girl before a mirror – (1932) MOMA, NYC Famous paintings of Picasso La Vie (1903) Cleveland Museum of Art, OH Famous paintings of Picasso Le Reve – (1932) – (Private Collection Steven Cohen) Famous paintings of Picasso The Young Ladies of Avignon – (1907) MOMA, NYC Famous paintings of Picasso Ma Jolie (1911-12) Museum of Modern Art, NYC Famous paintings of Picasso The Old Guitarist (1903-04) - The Art Institute of Chicago, IL Famous paintings of Picasso Guernica - (1937) – (Reina Sofia, Madrid) Famous paintings of Picasso Three Musicians – (1921)
    [Show full text]
  • Artist Resources – Pablo Picasso (Spanish, 1881-1973) Musée Picasso, Paris Picasso at Moma
    Artist Resources – Pablo Picasso (Spanish, 1881-1973) Musée Picasso, Paris Picasso at MoMA Picasso talks Communism, visual perception, and inspiration in this intimate interview at his home in Cannes in 1957. “My work is a constructive one. I am Building, not tearing down. What people call deformation in my work results from their own misapprehension. It's not a matter of deformation; it's a question of formation. My work oBeys laws I have spent my life in formulating and adhering to. EveryBody has a different idea of what constitutes reality and the suBstance of things….I set [oBjects] down in what my intellect tells me is the order and form in which they appear to me.” In these excerpts from 1943, from his Book, Conversations with Picasso, French photographer and sculpture Brassaï reflects candidly with his friend and contemporary aBout Building on the past, authenticity, and gathering inspiration from nature, history, and museums. “I thought I learned a lot from him. Mostly in terms of the way he worked, the concentration in which he worked, the unity of spirit in thinking in thinking aBout nothing else, giving everything away for that,” reflected Françoise Gilot in an interview with Charlie Rose in 1998. In 2019, she puBlished the groundBreaking memoir of her own life as an artist and her relationship with the untamaBle master, Life with Picasso. MoMA’s monumental 1996 exhiBition Picasso and Portraiture: Representation and Transformation emBarked on a Picasso in his Montmartre studio, 1908 tour of over 200 visual representations By the artist of his friends, family, and contemporaries.
    [Show full text]
  • Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
    Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate.
    [Show full text]
  • Jean METZINGER (Nantes 1883 - Paris 1956)
    Jean METZINGER (Nantes 1883 - Paris 1956) The Yellow Feather (La Plume Jaune) Pencil on paper. Signed and dated Metzinger 12 in pencil at the lower left. 315 x 231 mm. (12 3/8 x 9 1/8 in.) The present sheet is closely related to Jean Metzinger’s large painting The Yellow Feather, a seminal Cubist canvas of 1912, which is today in an American private collection. The painting was one of twelve works by Metzinger included in the Cubist exhibition at the Salon de La Section d’Or in 1912. One of the few paintings of this period to be dated by the artist, The Yellow Feather is regarded by scholars as a touchstone of Metzinger’s early Cubist period. Drawn with a precise yet sensitive handling of fine graphite on paper, the drawing repeats the multifaceted, fragmented planes of the face in the painting, along with the single staring eye, drawn as a simple curlicue. The Yellow Feather was one of several Cubist paintings depicting women in fashionable clothes, and with ostrich feathers in their hats, which were painted by Metzinger in 1912 and 1913. Provenance: alerie Hopkins-Thomas, Paris Private collection, Saint-Germain-en-Laye, until 2011. Literature: Jean-Paul Monery, Les chemins de cubisme, exhibition catalogue, Saint-Tropez, 1999, illustrated pp.134-135; Anisabelle Berès and Michel Arveiller, Au temps des Cubistes, 1910-1920, exhibition catalogue, Paris, 2006, pp.428-429, no.180. Artist description: Trained in the Académie des Beaux-Arts in Nantes, Jean Metzinger sent three paintings to the Salon des Indépendants in 1903 and, having sold them, soon thereafter settled in Paris.
    [Show full text]
  • Pablo Picasso - the Artist and His Muse
    Pablo Picasso - The Artist and His Muse Pablo Picasso defined Modern Art just as Einstein defined the word "scientist." Picasso was the ambassador of Cubism and Abstract Art. However, greater the fame he achieved with his brush, the more degenerate his relationships became. Pablo Picasso's art reflected all his failed relationships, infidelity, vengefulness and emotional sourness, which made him world famous. Pablo Picasso faced his first tragedy at the death of his sister, Conchita, when he was just seventeen. This left a very deep impression on him. Although Pablo was never as desperate as Goya or Van Gogh or Gauguin, he had his share of mistresses and lovers. Most of Pablo's relationships with them ended bitterly and many which started as a hero worship ended with the accusations of infidelity and abuse. This story repeated itself several times, as Picasso's art grew from Realism to Blue, Rose, Africanism, and Cubism. The funniest part was that, as Pablo Picasso seems to have "phases" in his art; his women also were "in phases." For every segment of his works, it is easy to recognize a different woman. Pablo Picasso's first long-term mistress was Fernande Olivier, who was a fellow artist of his. Olivier was the muse, who graced his "Rose" period works. The colors in Rose Phase Paintings were primarily bright Orange, and Pink. Happy characters such as, Circus Artisans and Harlequins graced Pablo Picasso's Canvas. It could be said that maybe the young Picasso was in love. However, as his art gained value, he left Olivier for Eva (Marcelle Humbart), now making her the queen of his "Cubist" works.
    [Show full text]
  • A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements.
    [Show full text]
  • Press Information
    PRESS INFORMATION PICASSO IN ISTANBUL SAKIP SABANCI MUSEUM, ISTANBUL 24 November 2005 to 26 March 2006 Press enquiries: Erica Bolton and Jane Quinn 10 Pottery Lane London W11 4LZ Tel: 020 7221 5000 Fax: 020 7221 8100 [email protected] Contents Press Release Chronology Complete list of works Biographies 1 Press Release Issue: 22 November 2005 FIRST PICASSO EXHIBITION IN TURKEY IS SELECTED BY THE ARTIST’S GRANDSON Picasso in Istanbul, the first major exhibition of works by Pablo Picasso to be staged in Turkey, as well as the first Turkish show to be devoted to a single western artist, will go on show at the Sakip Sabanci Museum in Istanbul from 24 November 2005 to 26 March 2006. Picasso in Istanbul has been selected by the artist‟s grandson Bernard Ruiz-Picasso and Marta-Volga Guezala. Picasso expert Marilyn McCully and author Michael Raeburn are joint curators of the exhibition and the catalogue, working together with Nazan Olçer, Director of the Sakip Sabanci Museum, and Selmin Kangal, the museum‟s Exhibitions Manager. The exhibition will include 135 works spanning the whole of the artist‟s career, including paintings, sculptures, ceramics, textiles and photographs. The works have been loaned from private collections and major museums, including the Picasso museums in Barcelona and Paris. The exhibition also includes significant loans from the Fundaciñn Almine y Bernard Ruiz-Picasso para el Arte. A number of rarely seen works from private collections will be a special highlight of the exhibition, including tapestries of “Les Demoiselles d‟Avignon” and “Les femmes à leur toilette” and the unique bronze cast, “Head of a Warrior, 1933”.
    [Show full text]
  • Fernande OLIVIER Née Amélie LANG Le 6 Juin 1881 À 14H À Paris 6E Selon Acte N°1405 – Archives Paris En Ligne – 1881 – V4 E 3230 – Vue 15/31
    Chorégraphe, peintre et mannequin, elle est la muse et la première des compagnes de Picasso avant de le quitter en 1912. Fernande OLIVIER Née Amélie LANG le 6 juin 1881 à 14h à Paris 6e Selon acte n°1405 – Archives Paris en ligne – 1881 – V4 E 3230 – vue 15/31 Décédée le 29 janvier 1966 à Neuilly-sur-Seine 92- Hauts-de-Seine Elle rencontre Picasso au Bateau-lavoir… Appelé ainsi par Max Jacob, en raison de son unique point d’eau, les ateliers du Bateau-lavoir dans le 18e arrondissement de Paris attirent nombre d’artistes en tous genres et marchands d’art à l’aube du 20e siècle. Glacé en hiver, fournaise en été, ce qui devient vite le royaume des peintres de Montmartre, exige une santé de fer. Le confort y est des plus rustiques comme l’indique plus tard Fernande dans son livre Picasso et ses amis préfacé par Paul Léautaud et édité en 1933 chez Stock : Un sommier sur quatre pieds dans un coin. Un petit poêle de fonte tout rouillé supportant une cuvette ; une serviette, un bout de savon étaient posés sur une table de bois blanc à côté. [...] des chevalets, des toiles de toutes dimensions, des tubes de couleurs éparpillés par terre, des pinceaux.» Et en 1907, c’est dans ce dénuement total, parfois illuminé par la présence de jolies femmes dont Fernande Olivier, que Pablo Picasso vient d’achever Les Demoiselles d’Avignon. L’une d’elles serait Fernande. Quelque peu effrayé par la nouveauté de son œuvre, Picasso hésite à la montrer.
    [Show full text]