A Foreign artist in Paris - Pablo Picasso - Research Paper Example

A Foreign Artist in Paris: Picasso A Foreign Artist in Paris: Picasso Picasso: An Introduction Pablo Picasso, wasa Spanish ‘Art master’, if I may say given his gift and capacity of displaying artwork and form, to the public during the 19th Century. As a painter, printmaker, sculptor, stage designer, poet, ceramicist and playwright, his ingenious was seen in various avenues; with greater appreciation in the contemporary arena. While it is in France that his stature and prominence gradually grew, as Daix portrays, he is of Spanish origin, born in the city of Malaga the Spanish Andalusian region. Despite his atheist inclination, he was baptized Catholic, as would be common of middle class Spanish children. Artistic impression may have been passed onto the young Picasso, as his father practiced his specialty of painting especially of naturalistic depictions1. This gene was passed from the father, as he proved to be an illustrious professor and curator; this in the city’s School of Crafts and a local museum respectively. This artistic capacity was evident from a young age, to be trained henceforth from the young age of seven years. His father was responsible for his early learning, especially in oil painting and figure drawing. As a traditional instructor and academic artist, his father was of the belief that proper training necessitated the disciplined learning from existing art masters. In addition was the need for skill in drawing the human body from both live models and plaster casts, with Picasso becoming engrossed in art; to the detriment of his schooling. It is after the tragic death of his sister that the family moved to Barcelona2. Later, he was admitted in the city’s School of Fine Arts at the age of just 13 years. But his conduct could not sustain him in the center, instead transferring to Madrid’s Royal Academy, which is the nation’s foremost art center. However, his spirit was wild, being unable to sustain his schooling, to later on stop class attendance at the age of 16 years. His focus was henceforth shifted to other areas of interest i.e. the Prado, which housed paintings by Diego Velazquez, Francisco Zurbaran and Francisco Goya with special admiration for El Greco’s works. These elements were to later own revolutionize the art world, with utility of arresting colors, mystical visages and elongated limbs being symbolic of his later works3. France: Picasso’s Great Artistic Journey From a young age, he was inclined towards realism, as portrayed in works in – The First Communion (1896) – to later on acquire a tinge of Symbolist influences. His modernist era was closely followed, especially because of exposure to the works of such greats as Edvard Munch, Toulouse-Lautrec, Steinlen and Rossetti. However, it is his admiration of such legends as El Greco, which led to the foundation of his individual version of modernist works. His maiden trip to Paris, France was in the year 1900; which was by then, Europe’s art capital. Max Jacob, a poet and journalist was influential in enabling the young Picasso learn French literature and language4. This friendship became solidified during the hard times, when poverty was severe, with mass desperation and winter coldness; necessitating the two friends’ cooperation. To be noted is that his friendship with anarchist Francisco de Asis Soler, influenced his perspectives, especially those related to the poor masses’ state of affairs. This, later on, influenced his Blue Period (1901-04), which was symbolized by his somber paintings that were rendered in blue-green and blue shades. Successful works i.e. La Vie (1903) and the Frugal Repast (1904), were to be some of his great accomplishments; with blindness being a recurrent theme during this period. Other major works of this time included: - the Portrait of Suzanne Bloch, Portrait of Soler, and the Blindman’s Meal (1903)5. Following this era, was the Rose-Period that established his more cheery character; by way of utility of pink and orange colors. Unlike previous works of doleful subject matter, this period experienced his play with circus individuals, harlequins and acrobats. This may attest as to why he choose the Harlequin as his personal symbol. In the year 1904, he met his mistress, Fernande Olivier, a bohemian artist. She subsequently appeared in many of his paintings, especially those of the Rose Period. Influential to the unique artistic nature of these paintings is the warm relationship they had; as well as enhanced exposure to the then dominant French painting scene. This era was represented by a general optimistic and upbeat mood, which later influenced his success not only in Europe, but also in the U.S6. His paintings became a favorite of American art collectors such as Gertrude and Leo Stein, as well as his brother Michael and wide Sarah. Gertrude became Picasso’s principal patron. It is during this successful time in his career that he became friends with Henri Matisse, to be both a lifelong rival and friend. He later on joined a gallery, operated by Daniel-Henry Kahnweiler, based in Paris. As a German art collector and historian, Kahnweiler became an avid French art dealer; amongst the most celebrated in the 20th century. This may be partly influenced by his championing of the art form of Cubism, as developed by both George Braque and Pablo Picasso7. Picasso: Influences on Modern Art He is regarded as one of the greatest artists to have influenced the global art scene. Significant in this, was his African influence (1907-09), from African artifacts; as demonstrated in the two figurines on his Les Demoiselles d’Avignon painting. It is from this that formal ideals were developed, eventually directly leading to the Cubist era that followed. From the year (1909-12), analytic cubism became a characteristic occurrence in Picasso’s painting8. Developed together with Braque, cubism utilized both neutral and monochrome brownish colors. This entailed both artists analyzing different objects in terms of their shapes and stylistic creating, thereby resulting in a shared characteristic between the two painters9. Following this period, was the era of synthetic cubism (1912-19), which witnessed further development of this artistic genre; inclusive of cut paper fragments, which became pasted into various types of compositions. This, as is widely regarded, marked the beginning of a new era, when collage became extensively utilized in fine art. This further elevated Picasso to greater heights, in terms of fame and fortune; however at a cost to his relationship to Olivier. He subsequently cultivated a friendship with Marcelle Humbert (preferring to call her Eva Gouel) with numerous of his Cubist works being symbolic declarations of his love for her10. During WW1, his paintings became more somber; abate his ability to continuously work, eventually resulting in dramatic consequences affecting his life. It is through Paul Rosenberg, a French-Jewish art dealer, that he was introduced to the French high society. Khokhlova, married to Picasso, tried to influence Picasso, by way of her insistence on social propriety, which clashed with the latter’s bohemian tendencies. His trip to Italy (1917) resulted in his epic production of works fashioned in neo-classical style. Depicted as a – return to order – this style was evident all over Europe, through the various artists of the 1920s. Adding to this was the presence of both the Novecento Italiano movement, and the New Objectivity movement, which also influenced his stylistic work11. His trademark capacity, as a surrealist artist, led to his being declared as a staunch proponent, by the Surrealist poet and writer Andre Breton. His Cubist works became exhibited in 1925, developing new imagery, as well as formal syntax; this in the aim of better expressing himself emotionally. Accordingly, he viewed his stylistic representation as essential in releasing the psychic fears, eroticism and violence, which had until then, been largely sublimated. It is through this artistic surrealism that his attraction to both eroticism and primitivism was revived. Eventually, by the 1930s, the common motif of the minotaur did replace the harlequin imagery12. This may have been because of his interaction with surrealists who often depicted it as their preferred symbol. Both the symbol and his mistress – Marie-Therese, W. did become heavily featured in the celebrated artwork – Vollard Suite. Arguably, his most famous of works, was the depiction of Guernica’s bombing, by the German forces; during the Spanish Civil War, in Guernica. It is symbolic in the fact that it does embody a variety of thematic aspects i.e. the brutality, hopelessness and inhumanity of war. During WWII, he did stay in Paris; this until German occupation of the same. Due to his artistic style not being in tandem with Nazi ideology, he often was harassed by the Gestapo13. Despite the aforementioned political turmoil, he did continue painting, as attested by both – the Charnel House and the Still Life with Guitar. Further still, was his dubbing with bronze casting; abate the outlawed nature of such artwork. It is also during this period that writing became an alternative outlet; writing various poems, which remained largely untitled. To be noted is that it is perhaps because of his numerous infidelities that a majority of his ink drawings, prints and paintings do depict the theme of an old, grotesque dwarf, who is the doting lover of a young beautiful model. His later-life, was more concentrated on sculptural artistic work, influencing his change of style; producing reinterpretations of various great artistic works. An example of this was his making of the Chicago Picasso; which is ambiguous, yet controversial art forms. In his final years, his work became more of a mixture of styles, with his avenues of expression being consistently dynamic in nature. due to his increased devotion, especially during his last stages of life, witnessed an increase in his daring aspect, with his artworks becoming more expressive and colorful in nature. this was the advent of neo-expressionism, which proved to be quite ahead of its time14. Conclusion He is said to have enjoyed his life in the French capital, to later on pass away in the year 1973, in Mougins. It is through his great incorporation of various artistic works, as aforementioned, that he was, still is, and will continue being amongst the greatest of artists of the 20th century. From themes such as surrealism, classicism, neo-expressionism, and cubism, it is quite vivid that his influence widely affected the contemporary art world. Bibliography Artnet. Pablo Picasso (Spanish, 1881-1973). Artnet [Artists: Pablo Picasso], (2012). retrieved from: http://www.artnet.com/artists/pablo-picasso/ Berger, John. The Success and Failure of Picasso. New York: NY, Pantheon Books. (1989). Daix, Pierre. Picasso: Life and Art. Icon Editions. (1994). Fitzgerald, Michael. C. Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art. New York: Farrar, Straus and Giroux/ Berkeley: University of California Press. (1996). Mallén, Enrique. The Visual Grammar of Pablo Picasso. New York: Peter Lang. (2003). National Gallery of Art. Picasso: The Early Years, 1892-1906. National Gallery of Art [Exhibitions], (2014). retrieved from: http://www.nga.gov/exhibitions/picbro.htm Nill, Raymond, M. A Visual Guide to Pablo Picassos Works. New York, B&H Publishers. (1987). Appendix La vie painting (1903) Femme Assise (Sitzende Frau) Portrait d’Olga dans un fauteull Les Demoiselles d’Avignon Read More