⒈ Guernica By Pablo Picasso: Painting Analysis

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Guernica By Pablo Picasso: Painting Analysis



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Guernica: What inspired Pablo Picasso's masterpiece? BBC News

At the time, Picasso had associated himself closely with a group of radical writers, anarchists and artists. Among them was a close friend and Spanish poet, known as Carles Casagemas. Although brilliant in his own right, Carles Casagemas committed suicide by shooting himself in the middle of a dinner party that year due to an incident with his lover.

The death of his close compatriot affected him deeply and it is what catalyzed the paintings that were created soon after his death. All of the paintings created by Picasso during the Blue Period were characterized by cold colors such as nauseating greens, dark greys and, of course, melancholic blue hues. In the painting, Casagemas appeared to be swaddled in white sheets, as though asleep. By the time he was creating his first painting in the Blue Period, Picasso had not yet managed to find his voice as an artist or sold enough paintings to support himself, which further worsened his psychological state. In this portrait, he represented himself as a year-old frail man instead of painting himself as he really was at the time, which was a year-old painter whose career was full of endless possibilities.

Picasso chose to use blue to communicate the pain and desolation that he was feeling at the time. During the Blue Period, Picasso continued to feature outcasts as the subject matter of his paintings. In addition to failed or failing artists such as himself, he also included subjects that were considered exiles and recluses, such as drunkards, the homeless , prostitutes and of course, individuals that were struggling to keep up with the pressures of day to day life. By using blue in his background, Picasso was able to convey elements of vulnerability in his work.

Blue also highlighted various facets of trouble such as creative anguish, loss, poverty, grief, and dejection in a single canvas. For close to a year, he embarked on painting in a style known as the Rose Period, which was a lot happier and cheerful than the Blue Period. The Rose Period, unlike the Blue, was characterized by the use of red and pink hues, which were more uplifting. After a year or so of focusing on the Red Period, his style changed and darkened to feature forms that were more solid and heavier in aspect. It was during this period that Picasso met and became close allies with Georges Braque 1. Together the two created a new movement that was known as Cubism 2.

The Old Guitarist was an oil painting on canvas. One can almost sense Picasso's increased interest in depicting a human face as a series of flat planes. Stein claimed that she sat for the artist some ninety times, and although that may be an exaggeration, Picasso certainly wrestled long and hard with painting her head. After approaching it in various ways, abandoning each attempt, one day he painted it out altogether, declaring "I can't see you any longer when I look," and soon abandoned the picture. It was only some time later, and without the model in front of him, that he completed the head. This painting was shocking even to Picasso's closest artist friends both for its content and its execution. The subject matter of nude women was not in itself unusual, but the fact that Picasso painted the women as prostitutes in aggressively sexual postures was novel.

Picasso's studies of Iberian and tribal art is most evident in the faces of three of the women, which are rendered as mask-like, suggesting that their sexuality is not just aggressive, but also primitive. For instance, the leg of the woman on the left is painted as if seen from several points of view simultaneously; it is difficult to distinguish the leg from the negative space around it making it appear as if the two are both in the foreground. The painting was widely thought to be immoral when it was finally exhibited in public in Braque is one of the few artists who studied it intently in , leading directly to his Cubist collaborations with Picasso.

Because Les Demoiselles predicted some of the characteristics of Cubism, the work is considered proto or pre Cubism. Still Life with Chair Caning is celebrated for being modern art's first collage. Picasso had affixed preexisting objects to his canvases before, but this picture marks the first time he did so with such playful and emphatic intent. The chair caning in the picture in fact comes from a piece of printed oilcloth - and not, as the title suggests, an actual piece of chair caning. Furthermore, the viewer can imagine that the canvas is a glass table, and the chair caning is the actual seat of the chair that can be seen through the table.

Hence the picture not only dramatically contrasts visual space as is typical of Picasso's experiments, it also confuses our sense of what it is that we are looking at. Picasso's experiments with collaged elements such as those in Still Life with Chair Caning encouraged him to reconsider traditional sculpture as well. Rather than a collage, however, Maquette for Guitar is an assemblage or three-dimensional collage. Picasso took pieces of cardboard, paper, string, and wire that he then folded, threaded, and glued together, making it the first sculpture assembled from disparate parts. The work is also innovative because it is not a solid material surrounded by a void, but instead fluidly integrates mass and its surrounding void. Picasso has translated the Cubist interest in multiple perspectives and geometric form into a three-dimensional medium, using non-traditional art materials that continue to challenge the distinction between high art and popular culture as he did in Ma Jolie Picasso's Bowl of Fruit, Violin and Bottle is typical of his Synthetic Cubism, in which he uses various means - painted dots, silhouettes, grains of sand - to allude to the depicted objects.

This combination of painting and mixed media is an example of the way Picasso "synthesized" color and texture - synthesizing new wholes after mentally dissecting the objects at hand. After meeting Picasso in Paris, in , she became his mistress, muse, and intellectual companion. A strong personality, she was instrumental in expanding Picasso's political awareness, and he painted her dozens of times over the course of their relationship See: the 10 Most Expensive Paintings. Maar actually painted a few minor details of Guernica , but was best-known for her documentary photography documenting the successive stages of Guernica as Picasso painted it in , in his workshop on the Rue des Grands Augustins. This universal image of suffering is painted in the flattened style of Picasso's early analytical Cubism, characterized by the use of angular and overlapping fragments of the subject's face, as if it were painted from different viewpoints simultaneously.

The most obvious meaning of the " Weeping Woman ", when interpreted against the background of the ongoing civil war in Spain, is fairly straightforward. Formally dressed, as though at a funeral or other place of mourning, she represents the harrowing grief experienced by mothers, sisters and others, following the death of a loved one, especially during wartime. As in Guernica , the focus is on the pain and suffering endured by innocent civilians. Note: A key element which appears in each of the " Weeping Woman " series, is the intense expression of the woman's eyes. Invariably wide-open and staring, they symbolize the intensity of her grief. There is an additional and more subtle interpretation: namely, that the work is a self-portrait , revealing the artist's inner torment at the idea of his native country being torn apart by civil war.

Picasso was extremely upset by the conflict and vowed never to return to Spain while Franco remained in power.

Guernica By Pablo Picasso: Painting Analysis painted it in Guernica By Pablo Picasso: Painting Analysis same summer as Guernica By Pablo Picasso: Painting Analysis very different, classical painting Three Women at the Spring. For years I've painted Guernica By Pablo Picasso: Painting Analysis in torture forms, not through Guernica By Pablo Picasso: Painting Analysis, and not with pleasure either; just obeying a vision that forced itself on me. At the time, Picasso who was resident Wild Robert Bly Analysis Paris, had been appointed honorary director-in-exile of the Prado Museum, Madrid. Guernica By Pablo Picasso: Painting Analysis Berggruen, Olivier ed.

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