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Pablo Picasso (1881-1973) Picasso and Cubism

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Module: Art Theory and History for Senior Students Course Code: AVI 4M Artists like Henri Matisse and a group known as the Fauves pushed the use of brilliant colour and impasto texture further than van Gogh had dared and Pablo Picasso took Cezanne's experiments with perspective to the next level. The early twentieth century was a turbulent time of industrialization and violent political upheaval and PICASSO AND CUBISM the art of this era was suitably adventurous. We will Post Impressionists like van Gogh and Cezanne begin our look at this time with the development of set the stage for a new generation of artists to push cubism through the work of Pablo Picasso. the boundaries of art even further. Young artists were inspired by the bold approach of these artists but wanted to go even further in the use of expressive colour, and in the flattening of the pictorial space of painting. Man Ray (1890-1976) © ARS, NY Pablo Picasso. 1933. Gelatin silver print. 35.2 x 27.9 cm (13 7/8 x 11 in.). The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.18). Copy Photograph © The Metropolitan Museum of Art Location :The Metropolitan Three Musicians. 1921. 6’7””x7”33/4”. oil on canvas. Museum of Art, New York, NY, U.S.A. Photo Credit : The Museum of Modern Art, New York. Image copyright © The Metropolitan Museum of Art / Art Resource, NY PABLO PICASSO (1881-1973) Picasso was the child prodigy son of Jose Picasso first visited Paris in 1900, and alter- Ruiz Blasco, a drawing master of Malaga Spain, nated between Paris and Barcelona from 1900-1904. and Maria Picasso. Until 1898 Picasso included his During this early Paris period he was very much father’s name, Ruiz, as well as his mother’s, when influenced by the drawings of Toulouse Lautrec. signing works, but after 1900 he dropped the name The subject matter of his work became the poor and Ruiz from his signature. More than any other artist social outcasts of society, dominated by blue tones. Picasso has become associated with the development In 1904 Picasso took a studio the Bateau-Lavoir and of the Modernist aesthetic in the period between the became the center of an avant-garde circle of artists. two world wars. Chapter 3: Five -Isms 23 Module: Art Theory and History for Senior Students Course Code: AVI 4M The Old Guitarist, 1903/04. Oil on panel. 122.9 x 82.6 cm The Art Institute of Chicago THE BLUE PERIOD 1901-1904 Subject Matter: Themes: Characteristics: 24 Chapter 3: Five -Isms Module: Art Theory and History for Senior Students Course Code: AVI 4M From 1905-1908 Picasso’s fortunes changed palette. He met Matisse in 1906, and although he and so did his art. The subject matter of this period admired the work of the Fauves he continued to de- was predominately acrobats, dancers and harlequins, velop his own aesthetic. with an introduction of grey and pink tones to his The Family of Acrobats with Ape. 1905. oil on canvas 41”x291/2”.gouache, watercolour, pastel, India ink on cardboard. THE ROSE PERIOD 1904-1908 Subject Matter: Themes: Characteristics: Chapter 3: Five -Isms 25 Module: Art Theory and History for Senior Students Course Code: AVI 4M The years from 1907-1909 are often called The culmination of this work was the painting Les his "African" period, when he concentrated on the Demoiselles d’Avignon a work so radical it was not simplification of forms in his work based on a study publicly displayed until 1937. of African sculpture and the works of Paul Cezanne. Les Demoiselles d’Avignon. 1907. 8’x7’8”. oil on canvas. Museum of Modern Art. New York. THE AFRICAN PERIOD 1907-1909 Subject Matter: Themes: Characteristics: 26 Chapter 3: Five -Isms Module: Art Theory and History for Senior Students Course Code: AVI 4M From 1910-1916 Picasso worked closely with Les Demoiselles d’Avignon and continued to with the artists Georges Braques and Juan Gris, develop the process of fracturing the viewing plane developing the various aspects of Cubism, first of the canvas. Perhaps Cubism’s most important Analytical Cubism, (1910-1912), and then Synthetic influence on modern art was that it insisted that art Cubism, (c.1912). Analytical Cubism had begun was an object in its own right and not just a represen- tation of the real world. Portrait of Vollard. 1910. 361/4”x255/8”. oil on canvas. Pushkin State Museum of Fine Art, Moscow. THE ANALYTICAL CUBIST PERIOD 1910-1912 Subject Matter: Themes: Characteristics: Chapter 3: Five -Isms 27 Module: Art Theory and History for Senior Students Course Code: AVI 4M After Cubism Picasso worked in a variety Picasso continued to push the boundaries of art of styles including Synthetic Cubism, a monumental throughout his life and expressed his genius in almost Neoclassical style and his own version of Surrealism. every artistic medium with equal skill. The culmination of this period was his epic painting “Guernica” in 1937, which expressed his horror of the bombing of the Basque capital and foreshadowed the coming war in Europe. Still Life with Chair Caning. 1912. 101/2”x133/4”.collage of oil, oilcloth and pasted paper simulating chair caning on canvas. Musée Picasso. Paris. THE SYNTHETIC CUBIST PERIOD 1912-1917 Subject Matter: Themes: Characteristics: 28 Chapter 3: Five -Isms Module: Art Theory and History for Senior Students Course Code: AVI 4M Paris in 1905. A critic reviewing the work at the time referred to the painters as "fauves", which is French for wild beasts, because he could not comprehend their intense use of colour and texture. The artists however were fine with the name given to them and the Fauvist movement was born. Artists such as Matisse, Derain, Dufy, de Vlaminck and Rouault continued to create works with violent colour and MATISSE AND FAUVISM distortion. Henri Matisse and a group of young artists ex- hibited a collection of vibrantly coloured paintings in Coburn, Alvin Langdon (1882-1966) Woman with the Hat. 1905. oil on canvas 32”x231/4”. Private Henri Matisse, painter, 1913. Platinum print. collection, San Francisco. Location :Royal Photographic Society, London, Great Britain Photo Credit : SSPL/National Media Museum / Art Resource, NY HENRI MATISSE (1869-1954) Henri Matisse was born in Le Cateau in the Picardy region of France. He abandoned the study of Law and went to Paris in 1892 to study art in the academic tradition under the painter Bouguereau, (1825-1905). He also worked at the Academie Julien and the Ecole des Beaux-Arts were he studied with Gustave Moreau and met many of the artists who would later form the Fauves group of painters. Chapter 3: Five -Isms 29 Module: Art Theory and History for Senior Students Course Code: AVI 4M He studied in this way much in the style and colour ranges of the realists like Corot until 1896, when painting in Brittany he began to use the lighter palette of the Impressionists. He seems to have been mostly influenced by Renoir during this time. By 1899 he began to experiment with Neo-Impressionist techniques similar to those used by Seurat and the Divisionists. The Green Stripe (Madame Matisse). 1905. 157/8”x127/8”. oil on canvas. Statens Museum, Copenhagen. THE FAUVE PERIOD 1905-1908 Subject Matter: Themes: Characteristics: 30 Chapter 3: Five -Isms Module: Art Theory and History for Senior Students Course Code: AVI 4M In 1905 together with artists such as Derain and Vlaminck he exhibited new works in a now famous Salon d’Automne show that gave rise to the name “Fauve”. The story goes that a critic seeing a sculpture that was like the work of Renaissance sculptor Donatello remarked, “Donatello au milieu des fauves”, (Donatello among the wild beasts). Accuracy of the story aside the name appealed to the group of painters and stuck! Harmony in Red. 1908-09. 711/4”x967/8”. oil on canvas. The Hermitage Museum, Leningrad THE POST FAUVE PERIODS 1908-1954 Subject Matter: Themes: Characteristics: Chapter 3: Five -Isms 31 Module: Art Theory and History for Senior Students Course Code: AVI 4M In 1906 Matisse met Picasso and shared his interest in African art, but remained distant from the cub- ists, preferring to develop his own aesthetic. In 1907 Matisse founded his own academie. During this period he began to formalize his approach to painting, coming back to several themes which would continue to be a source of inspiration throughout his career. He continued to develop a style based on line and colour shapes with alternating periods of more naturalistic and more abstract compositions. After the First World War, Matisse like Picasso, led the revolt against traditional representation, defining the period known as Modernism. In later life he became known for his “papiers collés” which he began in 1941 during a convalescence from a serious operation. His most famous of these works were for the book “Jazz” completed in 1944. Le Tobogan from “Jazz”. 1944 . collage. THE COLLAGES OF MATISSE Subject Matter: Themes: Characteristics: 32 Chapter 3: Five -Isms Module: Art Theory and History for Senior Students Course Code: AVI 4M lustrating “ the ideas. It was the attempt of a number of young artists to free Italy from its past and the cultural stupor it found itself in by the early part of the 20th century. It glorified the modern world, ma- chinery, speed and violence. A militant faction of the Futurists also supported destroying museums, librar- ies and academies as a way of wiping away the past Italian Futurism and starting fresh.
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