Как пишется пикассо художник

«ПИКАССО» — одушевленное существительное, фамилия французского художника испанского происхождения Пабло Пикассо.

Произношение фамилии самого «дорогого» художника в мире вызывает некоторые затруднения.

Давайте с этим разберемся.

Для начала разобьем данное слово на фонетические слоги:

пи-ка-ссо

В слове «пикассо» 3 слога, 7 букв и 6 звуков.

Так какой же слог будет ударным в данном случае?

В разговорной речи бытует два варианта произношения фамилии легендарного художника:

• «пика́ссо», где ударение падает на гласную букву «а» второго слога,
• «пикассо́«, где ударение падает на гласную букву «о» третьего слога.

Как правильно – “пикАссо” или “пикассО”?

Согласно литературной норме русского языка фамилию великого художника можно произносить как с ударным вторым слогом, так и с ударным третьим слогом.

Отметим, что Пабло Пикассо по происхождению испанец, а в испанском языке в словах , оканчивающихся на гласную букву, ударение падает на предпоследний слог. Таким образом, на испанский манер фамилия звучит с ударным вторым слогом:

Пика́ссо

Напомним, что испанский художник прожил во Франции, а во французском языке ударение в словах ставится на последний слог. Поэтому во Франции фамилия художника произносится с ударным последним слогом:

Пикассо́

Поскольку фамилия испанская, но художник жил во Франции, в литературной речи допускается оба варианта произношения.

Также важно знать, что фамилия «Пикассо» не склоняется.

Примеры для закрепления:

• Пабло Пика́ссо́ — самый «дорогой» художник в мире.
• В 2009 году Пабло Пика́ссо́ признан лучшим художником, жившим за последние 100 лет.
• В 2015 году картина Пика́ссо́ «Алжирские женщины» была продана за 179 млн долларов.

Пабло Пикассо
Pablo Picasso
Имя при рождении:	Пабло Диего Хосе Франсиско де Паула Хуан Непомусено Мария де лос Ремедиос Сиприано де ла Сантисима Тринидад Мартир Патрисио Руис и Пикассо
Дата рождения:	25 октября 1881
Место рождения:	Малага
Дата смерти:	8 апреля 1973 (91 год)
Место смерти:	Мужен
Гражданство:	Испания
Жанр:	художник, скульптор, график, керамист и дизайнер
Учёба:	Королевская академия изящных искусств Сан-Фернандо (в Мадриде в течение одного года)
Стиль:	кубизм, сюрреализм, постимпрессионизм
Известные работы:	Авиньонские девицы, Герника, Девочка на шаре, Обнажённая, зелёные листья и бюст
Награды:

Па́бло Дие́го Хосе́ Франси́ско де Па́ула Хуа́н Непомусе́но Мари́я де лос Реме́диос Сиприа́но де ла Санти́сима Тринида́д Мáртир Патри́сио Руи́с и Пика́ссо (принят также вариант Пикассо́^[1][2], исп. Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Mártir Patricio Ruiz y Picasso; 25 октября 1881, Мáлага, Испания — 8 апреля 1973, Мужен, Франция) — испанский художник, скульптор, график, керамист и дизайнер.

Основоположник кубизма (совместно с Жоржем Браком и Хуаном Грисом), в котором трёхплоскостное тело в оригинальной манере рисовалось как ряд совмещённых воедино плоскостей. Пикассо много работал как график, скульптор, керамист и т. д. Вызвал к жизни массу подражателей и оказал исключительное влияние на развитие изобразительного искусства в XX веке. Согласно оценке Музея современного искусства (Нью-Йорк), Пикассо за свою жизнь создал около 20 тысяч работ^[3].

Эксперты назвали Пикассо самым «дорогим» художником — в 2008 году объём только официальных продаж его работ составил 262 млн долл^[4]. 4 мая 2010 года картина Пикассо «Обнажённая, зелёные листья и бюст», проданная на аукционе Кристис за 106 482 000 долларов, стала самым дорогим произведением искусства, когда-либо проданным в мире^[5].

По результатам опроса 1,4 млн читателей, проведённого газетой The Times в 2009 году, Пикассо был признан лучшим художником среди живших за последние 100 лет. Его полотна стоят на первом месте по «популярности» среди похитителей^[6].

Биография

Детство и годы обучения

Согласно испанской традиции, он получил две фамилии, по первым фамилиям родителей: отца — Руис и матери — Пикассо. Полное имя, которое будущий художник получил при крещении — Па́бло Дие́го Хосе́ Франци́ско де Па́ула Хуа́н Непомусе́но Мари́я де лос Реме́диос Сиприа́но де ла Санти́сима Тринида́д Ма́ртир Патри́сио Руи́с и Пика́ссо. В доме на малагской площади Мерсед, где родился Пикассо, ныне размещается дом-музей художника и фонд, носящий его имя.

Пикассо начал рисовать с самого детства, первые уроки художественного мастерства он получил у своего отца — учителя рисования Хосе Руиса Бласко, и вскоре сильно в этом преуспел. В 8 лет он пишет свою первую серьёзную картину маслом, Пикадор, с которой он не расставался в течение всей жизни.

В 1891 году дон Хосе получает должность преподавателя рисования в Ла-Корунье, и юный Пабло вместе с семьёй переезжает на север Испании. Здесь он учится в местной школе искусств (1894—1895).

Потом семья переезжает в Барселону, и в 1895 год Пикассо поступает в школу изящных искусств Ла-Лонха. Пабло исполнилось только четырнадцать, поэтому он был слишком молод для поступления в Ла-Лонху. Но по настоянию отца он был допущен к сдаче вступительных экзаменов на конкурсной основе. Пикассо с блеском сдаёт все экзамены и поступает в Ла-Лонху. Сначала он подписывается своим именем по отцу Ruiz Blasco, но затем выбирает фамилию матери — Picasso.

В начале октября 1897 года Пикассо уехал в Мадрид, где поступил в Королевскую академию изящных искусств Сан-Фернандо.

В Барселону Пикассо вернулся в июне 1898 года, там он вступил в художественное общество «Els Quatre Gats», по названию богемного кафе с круглыми столами. В этом кафе пройдёт его первая выставка. В Барселоне он сблизился со своими будущими друзьями Карлосом Касахемасом и Жаиме Субартесом, которые впоследствии стали персонажами его полотен.

«Голубой» и «розовый» периоды

В 1900 году Пикассо со своим другом, художником Касахемасом уехал в Париж. Именно там Пабло Пикассо познакомился с творчеством импрессионистов. Его жизнь в это время была сопряжена со многими трудностями, а самоубийство Карлоса Касахемаса глубоко подействовало на молодого Пикассо.

При этих обстоятельствах в начале 1902 года он начал делать работы в стиле, впоследствии названном «голубым периодом». Стиль этот Пикассо разработал по возвращении в Барселону в 1903—1904 годах. В работах этого периода ярко выражены темы старости и смерти, характерны образы нищеты, меланхолии и печали («Женщина с пучком волос», 1903; Пикассо считал — «кто грустен, тот искренен»); движения людей замедлены, они словно вслушиваются в себя («Любительница абсента», 1901; «Женщина с шиньоном», 1901 г; «Свидание», 1902; «Нищий старик с мальчиком», 1903; «Трагедия», 1903). В палитре мастера преобладают голубые оттенки. Отображая человеческие страдания, Пикассо в этот период рисовал слепых, нищих, алкоголиков и проституток. Их бледные, отчасти удлиненные тела на картинах напоминают работы испанского художника Эль Греко.

Произведение переходного периода — от «голубого» к «розовому» — «Девочка на шаре» (1905, Музей изобразительных искусств, Москва).

В 1904 году Пикассо поселяется в Париже, где находит пристанище в знаменитом монмартрском общежитии для бедных художников Бато-Лавуар: начинается так называемый «розовый период», в котором печаль и нищета «голубого периода» сменилась образами из более живого мира театра и цирка. Художник отдавал предпочтение розово-золотистому и розово-серому тонам, а персонажами стали в основном бродячие артисты — клоуны, танцовщики и акробаты; картины этого периода проникнуты духом трагического одиночества обездоленных, романтической жизни странствующих комедиантов («Семья акробата с обезьяной», 1905).

Кубизм

От экспериментов с цветом и передачи настроения Пикассо обратился к анализу формы: сознательная деформация и деструкция натуры («Авиньонские девицы», 1907), односторонняя интерпретация системы Сезанна и увлечение африканской скульптурой приводят его к абсолютно новому жанру. Вместе с Жоржем Браком, которого встретил в 1907 году, Пикассо становится родоначальником кубизма — художественного направления, отвергавшего традиции натурализма и изобразительно-познавательную функцию искусства.

Пикассо уделил особое внимание превращению форм в геометрические блоки («Фабрика в Хорта де Эбро», 1909), увеличивает и ломает объёмы («Портрет Фернанды Оливье», 1909), рассекает их на плоскости и грани, продолжающиеся в пространстве, которое сам он считает твердым телом, неизбежно ограниченным плоскостью картины («Портрет Канвейлера», 1910). Перспектива исчезает, палитра тяготеет к монохромности, и хотя первоначальная цель кубизма состояла в том, чтобы более убедительно, чем с помощью традиционных приемов, воспроизвести ощущение пространства и тяжести масс, картины Пикассо зачастую сводятся к непонятным ребусам. Чтобы вернуть связь с реальностью, Пикассо и Жорж Брак вводят в свои картины типографский шрифт, элементы «обманок» и грубые материалы — обои, куски газет, спичечные коробки. Начинают преобладать натюрморты, преимущественно с музыкальными инструментами, трубками и коробками из-под табака, нотами, бутылками с вином и т. п. — атрибуты, присущие образу жизни художественной богемы начала века. В композициях появляется «кубистическая тайнопись»: зашифрованные номера телефонов, домов, обрывки имен возлюбленных, названий улиц, кабачков. Техника коллажа соединяет грани кубистической призмы в большие плоскости («Гитара и скрипка», 1913) или передает в спокойной и юмористической манере открытия, сделанные в 1910—1913 («Портрет девушки», 1914). В «синтетический» период появляется также стремление к гармонизации колорита, уравновешенным композициями, которые временами вписываются в овал. Собственно кубистический период в творчестве Пикассо заканчивается вскоре после начала Первой мировой войны, разделившей его с Жоржем Браком. Хотя в своих значительных произведениях художник использует некоторые кубистические приемы вплоть до 1921 («Три музыканта», 1921).

Русский балет

В сентябре 1916 года писатель-сценарист Жан Кокто и композитор Эрик Сати уговаривают Пикассо соучаствовать в постановке новаторского «сюрреалистического» балета «Парад» для «Русского балета» Сергея Дягилева. Пикассо не на шутку увлекается идеей этого балета, втягивается в работу, и в содружестве с Сати полностью переделывает и сценарий, и сценографию.^[7] Месяцем позднее он уезжает вместе со всей труппой Русских балетов на два месяца в Рим, где выполняет декорации, костюмы, знакомится с балетмейстером «Парада» Леонидом Мясиным и многими балетными артистами русской труппы. Вступительный манифест к спектаклю «Парад», «…более правдивому, чем сама правда», весной 1917 года написал Гийом Аполлинер, заранее объявив его провозвестником «Нового духа» в искусстве.^[8] Дягилев сознательно делал ставку на большую провокацию и готовил её всеми доступными средствами. Произошло именно так, как он намечал. Грандиозный скандал 18 мая 1917 года, состоявшийся на премьере (и единственном представлении) этого балета в театре Шатле немало способствовал подъёму популярности Пикассо в широких кругах парижского бомонда. Публика в зале едва не сорвала спектакль криками «Русские боши, долой русских, Сати и Пикассо боши!»^[8] Дело дошло даже до потасовки. Печать неистовствовала, критики объявили «Русский балет» едва ли не предателями, деморализующими французское общество в тылу во время тяжёлой и неудачной войны.^[8] Вот только одна из показательных по своему тону рецензий, вышедших на следующий день после премьеры «Парада». Между прочим, автором этой статьи был вовсе не какой-то маргинальный критик, а вполне респектабельный Лео Польдес, владелец картинной галереи «Клуб де Фобур»…

Дягилев остался чрезвычайно доволен произведённым эффектом. Сотрудничество Пикассо с Русскими балетами активно продолжилось и после «Парада» (декорации и костюмы для «Треуголки» Мануэля де Фальи, 1919). Новая форма деятельности, яркие сценические образы и крупные объекты воскрешают в нём интерес к декоративизму и театральности сюжетов.

Во время римской подготовки «Парада» Пикассо познакомился с балериной Ольгой Хохловой, которая стала его первой женой. 12 февраля 1918 года они заключают брак в русской церкви в Париже, свидетелями на их свадьбе были Жан Кокто, Макс Жакоб и Гийом Аполлинер. У них рождается сын Поль (4 февраля 1921 года).

Эйфорическая и консервативная атмосфера послевоенного Парижа, женитьба Пикассо на Ольге Хохловой, успех художника в обществе — все это отчасти объясняет этот возврат к фигуративности, временный и притом относительный, поскольку Пикассо продолжает писать в то время ярко выраженные кубистические натюрморты («Мандолина и гитара», 1924).

Сюрреализм

В 1925 году начинается один из самых сложных и неровных периодов в творчестве Пикассо. После эпикурейского изящества 1920-х («Танец») Пикассо создаёт атмосферу конвульсий и истерии, ирреальный мир галлюцинаций, что можно объяснить отчасти влиянием поэтов-сюрреалистов, проявившимся в некоторых рисунках, стихотворениях, написанных в 1935, и театральной пьесе, созданной во время войны. На протяжении нескольких лет воображение Пикассо, казалось, могло создавать только монстров, неких разорванных на части существ («Сидящая купальщица», 1929), орущих («Женщина в кресле», 1929), раздутых до абсурда и бесформенных («Купальщица», рисунок, 1927) или воплощающих метаморфические и агрессивно-эротические образы («Фигуры на берегу моря», 1931). Несмотря на несколько более спокойных произведений, которые являются в живописном плане наиболее значительными, стилистически это был весьма переменчивый период («Девушка перед зеркалом», 1932). Женщины остаются главными жертвами его жестоких бессознательных причуд, возможно, потому что сам Пикассо плохо ладил со своей собственной женой или потому, что простая красота Марии-Терезы Вальтер, с которой он познакомился в марте 1932 года, вдохновляла его на откровенную чувственность («Зеркало», 1932). Она стала также моделью для нескольких безмятежных и величественных скульптурных бюстов, исполненных в 1932 году в замке Буажелу, который он приобрёл в 1930 году. В 1930—1934 годах именно в скульптуре выражается вся жизненная сила Пикассо: бюсты и женские ню, в которых иногда заметно влияние Матисса («Лежащая женщина», 1932), животные, маленькие фигуры в духе сюрреализма («Мужчина с букетом», 1934) и особенно металлические конструкции, имеющие полуабстрактные, полуреальные формы и исполненные порой из грубых материалов (он создаёт их с помощью своего друга, испанского скульптора Хулио Гонсалеса — «Конструкция», 1931). Наряду с этими странными и острыми формами, гравюры Пикассо к «Метаморфозам» Овидия (1930) свидетельствуют о постоянстве его классического вдохновения.

«Герни́ка» и пацифизм

В 1937 году симпатии Пикассо — на стороне республиканцев, борющихся в Испании (серия акватинт «Мечты и ложь генерала Фрáнко», отпечатанная в виде открыток, разбрасывалась с самолетов над позициями франкистов). В апреле 1937 года немецкая и итальянская авиация бомбила и разрушила небольшой городок басков Герни́кa — культурный и политический центр жизни этого свободолюбивого народа. За два месяца Пикассо создает свою «Герни́ку» — громадное полотно, которое было выставлено в республиканском павильоне Испании на Всемирной выставке в Париже. Светлые и темные монохромные краски словно передают ощущение от всполохов пожара. В центре композиции, наподобие фриза, в комбинаторике кубистическо-сюрреалистических элементов показаны павший воин, подбегающая к нему женщина и раненая лошадь. Основной теме сопутствуют изображения плачущей женщины с мертвым ребёнком и быком за её спиной и женской фигуры в пламени с воздетыми вверх руками. В темноту маленькой площади, над которой висит фонарь, протягивается длинная рука со светильником — символом надежды.

Ужас, охвативший Пикассо перед угрозой варварства, нависшего над Европой, его страх перед войной и фашизмом, художник не выразил прямо, но придал своим картинам тревожную тональность и мрачность («Рыбная ловля ночью на Антибах», 1939), сарказм, горечь, которые не коснулись только лишь детских портретов («Майя и её кукла», 1938). И вновь женщины стали главными жертвами этого общего мрачного настроения. Среди них — Дора Маар, с которой художник сблизился в 1936 году и красивое лицо которой он деформировал и искажал гримасами («Плачущая женщина», 1937). Никогда ещё женоненавистничество художника не выражалось с такой ожесточенностью; увенчанные нелепыми шляпами, лица, изображенные в фас и в профиль, дикие, раздробленные, рассеченные потом тела, раздутые до чудовищных размеров, а их части соединены в бурлескные формы («Утренняя серенада», 1942). Немецкая оккупация не могла, понятно, испугать Пикассо, который оставался в Париже с 1940 по 1944 год. Она также нисколько не ослабила его деятельности: портреты, скульптуры («Человек с агнцем»), скудные натюрморты, которые порой с глубоким трагизмом выражают всю безысходность эпохи («Натюрморт с бычьим черепом», 1942).

В 1944 году Пикассо становится членом Французской коммунистической партии. Гуманистические воззрения Пикассо проявляются в его работах: в 1950 году он рисует знаменитого «Голубя мира».

После войны

Послевоенное творчество Пикассо можно назвать счастливым; он сближается с молодой Франсуазой Жило, с которой познакомился в 1945 году и которая подарит ему двоих детей, дав таким образом темы его многочисленных очаровательных семейных картин. Он уезжает из Парижа на юг Франции, открывает для себя радость солнца, пляжа, моря. Произведения, созданные в 1945—1955 годах, очень средиземноморские по духу, характерны своей атмосферой языческой идиллии и возвращением античных настроений, которые находят своё выражение в картинах и рисунках, созданных в конце 1946 года в залах музея Антиб, ставшего впоследствии музеем Пикассо («Радость жизни»).

Осенью 1947 года Пикассо начинает работать на фабрике «Мадура» в Валлорисе; увлечённый проблемами ремесла и ручного труда, он сам выполняет множество блюд, декоративных тарелок, антропоморфных кувшинов и статуэток в виде животных («Кентавр», 1958), иногда несколько архаичных по манере, но всегда полных очарования и остроумия. Особенно важны в тот период скульптуры («Беременная женщина», 1950). Некоторые из них («Коза», 1950; «Обезьяна с малышом», 1952) сделаны из случайных материалов (брюхо козы выполнено из старой корзины) и относятся к шедеврам техники ассамбляжа. В 1953 году Франсуаза Жило и Пикассо расходятся. Это было для художника началом тяжёлого морального кризиса, который эхом отдается в замечательной серии рисунков, исполненных между концом 1953 и концом зимы 1954 года; в них Пикассо по-своему, в озадачивающей и ироничной манере, выразил горечь старости и свой скептицизм по отношению к самой живописи. В 1954 году он встречается с Жаклин Рок, которая в 1958 году станет его женой и вдохновит его на серию статуарных портретов. В 1956 году на французские экраны вышла документальная лента о художнике «Таинство Пикассо».

Произведения последних пятнадцати лет творчества художника очень разнообразны и не равны по качеству («Мастерская в Каннах», 1956). Можно, однако, выделить испанский источник вдохновения («Портрет художника, в подражание Эль Греко», 1950) и элементы тавромахии (Пикассо был страстным поклонником популярной на юге Франции корриды), выраженные в рисунках и акварелях в духе Гойи (1959—1968). Чувством неудовлетворения собственным творчеством отмечена серия интерпретаций и вариаций на темы знаменитых картин «Девушки на берегу Сены. По Курбе» (1950); «Алжирские женщины. По Делакруа» (1955); «Менины. По Веласкесу» (1957); «Завтрак на траве. По Мане» (1960). Никто из критиков не смог дать удовлетворительного объяснения этим странным, дерзким композициям, даже если они находили своё завершение в действительно превосходных картинах^{[источник не указан 637 дней]}.

Пикассо умер 8 апреля 1973 года в Мужене (Франция) на своей вилле Notre-Dame-de-Vie. Похоронен возле принадлежавшего ему замка Вовенарт.

Пикассо оказал громадное влияние на художников всех стран, став одним из самых известных мастеров в искусстве XX века.

Награды

• Лауреат Международной Ленинской премии «За укрепление мира между народами» (1962).

Память

• Музей Пикассо был открыт в Барселоне. В 1960 году близкий друг и помощник Пикассо Хайме Сабартес и Гуаль принимает решение пожертвовать свою коллекцию работ Пикассо и организовать музей Пикассо в городе Барселона. 9 мая 1963 года в готическом дворце Беренгер де Агилар (Berenguer de Aguilar) открылся музей под названием «Коллекция Сабартеса». В настоящее время музей Пикассо (Museu Picasso) занимает пять особняков на улице Монткада-Мека, Беренгер-д’Агилар, Маури, Финестрес и Баро-де-Кастельет. В основе музея, открывшегося в 1968 году, была коллекция друга Пикассо Хайме Сабартеса. После смерти Сабартеса, Пикассо в знак своей любви к городу и в дополнении к огромному завещанию Сабартеса, в 1970 году отдал в музей около 2450 работ (полотен, гравюр и рисунков), 141 работу из керамики. Более 3500 работ Пикассо составляют постоянную коллекцию музея.
• В 1985 году музей Пикассо был открыт и в Париже (отель Сале); сюда вошли работы, переданные наследниками художника, — более 200 картин, 158 скульптур, коллажи и тысячи рисунков, эстампов и документов, а также личная коллекция Пикассо. Новые дары наследников (1990) обогатили парижский музей Пикассо, Городской музей современного искусства в Париже и несколько провинциальных музеев (картины, рисунки, скульптуры, керамика, гравюры и литографии). В 2003 году Музей Пикассо был открыт в его родном городе Малаге.
• Его роль в фильме Джеймса Айвори «Прожить жизнь с Пикассо» (1996) сыграл Энтони Хопкинс.

В филателии

• Почтовые марки СССР

• 

• 

Цитаты

• Я могу рисовать как Рафаэль, но мне понадобится вся жизнь, чтобы научиться рисовать так, как рисует ребёнок.^[9]
• Если хочешь сохранить глянец на крыльях бабочки, не касайся их.
• Бог — такой же художник, как другие художники.
• И среди людей больше копий, чем оригиналов.
• Дайте мне музей, и я заполню его.
• Художественное течение побеждает только тогда, когда его берут на вооружение декораторы витрин.
• Художник — это человек, который пишет то, что можно продать. А хороший художник — это человек, который продает то, что пишет.
• Хорошие художники копируют, великие художники воруют.

Интересные факты

• В 2006 году владелец казино Стив Винн (Steve Wynn) согласился продать шедевр кубизма — картину Пикассо «Le Rêve» американскому миллиардеру и коллекционеру искусства Стивену Коэну. Винн купил картину в 1990-х за 48,4 миллиона долларов, а продать согласился за 139 миллионов. Однако сделка была отменена, так как Винн, который страдает заболеванием глаз и практически ничего не видит, неловко повернулся и проткнул холст локтем, назвав это «самым неуклюжим и глупым жестом в мире». Гостями Винна, наблюдавшими этот ставший знаменитым «жест», были американская телеведущая Барбара Уолтерс, сценаристка Нора Эфрон с мужем, писателем Ником Пиледжи, и коллекционер искусства Серж Сорокко с женой Татьяной Сорокко.^[10]

• Пабло Диего Хозе Франциско де Паула Хуан Непомукено Криспин Криспиано де ла Сантисима Тринидад Руиз и Пикассо. Всего в его имени и фамилии 93 буквы

Пикассо в кинематографе

Год	Страна	Название	Режиссёр	В роли Пикассо	Примечание
1955	Франция	Таинство Пикассо	Анри-Жорж Клузо	Камео	Документальный фильм
1960	Франция	Завещание Орфея	Жан Кокто	Камео
1978	Швеция	Приключения Пикассо	Таге Даниэльссон	Геста Экман	Сюрреалистическая сага о жизни Пикассо
1996	США	Прожить жизнь с Пикассо	Джеймс Айвори	Энтони Хопкинс	Художественный фильм по мотивам книги Арианны Стассинопулос Хаффингтон «Пикассо: создатель и разрушитель»
2004	США  Великобритания  Германия  Румыния  Франция  Италия	Модильяни	Мик Дэвис	Омид Джалили	Художественный фильм
2012	Россия	Глаз божий	Иван Скворцов Сергей Нурмамед	Пётр Налич Владимир Познер	Телевизионный проект Леонида Парфёнова

Периодизация

Перечень картин, написанных Пикассо, соответственно периодам его творчества.

Галерея

• Работы Пикассо

См. также

• Музей Пикассо (Париж)
• Музей Пикассо (Малага)
• Красноморский ринекант Пикассо (англ. Arabian Picasso triggerfish) — рыба, названная в честь Пикассо

Примечания

Литература

• Костеневич А. «Дриада». Генезис и смысл картины Пикассо // Вестник истории, литературы, искусства. Отд-ние ист.-филол. наук РАН. М.: Собрание; Наука. Т. 1. 2005. C. 118—131.
• Пабло Пикассо. Стихотворения. М., Текст, 2008.
• Марина Пикассо. Дедушка: воспоминания. М., Текст, 2006.
• Надеждин Н. Я. Пабло Пикассо: «Пламя Герники»: Биографические рассказы. — 2-е изд. — М.: Майор, Осипенко, 2011. — 192 с. — (Серия «Неформальные биографии»). — 2000 экз. — ISBN 978-5-98551-171-0

Ссылки

	Портал «Живопись»
	Пабло Пикассо в Викицитатнике?
	Пабло Пикассо на Викискладе?
	Пабло Пикассо в Викиновостях?

• Пабло Пикассо: жизнь и творчество

In this Spanish name, the first or paternal surname is Ruiz and the second or maternal family name is Picasso.

Pablo Picasso
Picasso in 1908
Born	Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso[1] 25 October 1881 Málaga, Kingdom of Spain
Died	8 April 1973 (aged 91) Mougins, France
Resting place	Château of Vauvenargues 43°33′15″N 5°36′16″E / 43.554142°N 5.604438°E
Education	José Ruiz y Blasco (father) Real Academia de Bellas Artes de San Fernando
Known for	Painting, drawing, sculpture, printmaking, ceramics, stage design, writing
Notable work	La Vie (1903) Family of Saltimbanques (1905) Les Demoiselles d’Avignon (1907) Portrait of Daniel-Henry Kahnweiler (1910) Girl before a Mirror (1932) Le Rêve (1932) Guernica (1937) The Weeping Woman (1937) Massacre in Korea (1951)
Movement	Cubism, Surrealism
Spouses	Olga Khokhlova ​ ​ (m. 1918; died 1955)​ Jacqueline Roque ​ (m. 1961)​
Partners	Marie-Thérèse Walter (1927–1935) Dora Maar (1935–1943) Françoise Gilot (1943–1953)
Children	Paulo Picasso Maya Widmaier-Picasso Claude Picasso Paloma Picasso
Family	Marina Picasso (granddaughter) Bernard Ruiz-Picasso (grandson)
Patron(s)	Sergei Shchukin
Signature

Pablo Ruiz Picasso^[a][b] (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,^[8][9] the co-invention of collage, 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 the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War.

Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art.^{[10][11][12][13]}

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 (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso’s work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.

Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art.

Early life

Picasso was born at 23:15 on 25 October 1881, in the city of Málaga, Andalusia, in southern Spain.^[2] He was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López.^[14] Picasso’s family was of middle-class background. 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.^[1] Ruiz’s ancestors were minor aristocrats.

Picasso’s birth certificate and the record of his baptism include very long names, combining those of various saints and relatives.^[a][c] Ruiz y Picasso were his paternal and maternal surnames, respectively, per Spanish custom. The surname «Picasso» comes from Liguria, a coastal region of north-western Italy; its capital is Genoa.^[16] There was a painter from the area named Matteo Picasso [it] (1794–1879), born in Recco (Genoa), of late neoclassical style portraiture,^[16] though investigations have not definitively determined his kinship with the branch of ancestors related to Pablo Picasso. The direct branch from Sori, Liguria (Genoa), can be traced back to Tommaso Picasso (1728–1813). His son Giovanni Battista, married to Isabella Musante, was Pablo’s great-great-grandfather. Of this marriage was born Tommaso (Sori, 1787–Málaga, 1851). Pablo’s maternal great-grandfather, Tommaso Picasso moved to Spain around 1807.^[16]

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».^[17] From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. 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 models. His son became preoccupied with art to the detriment of his classwork.

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,^[18] though paintings by him exist from later years.

In 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria.^[19] 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.^[20] 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 jury admitted him, at just 13. As a student, Picasso lacked discipline but made friendships that would affect him in later life. His father rented a small room for him 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.^[21]

Picasso’s father and uncle decided to send the young artist to Madrid’s Real Academia de Bellas Artes de San Fernando, the country’s foremost art school.^[20] At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrollment. Madrid held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso’s later work.^[22]

Career

Before 1900

Picasso’s training under his father began before 1890. His progress can be traced in the collection of early works now held by the Museu Picasso in Barcelona, which provides one of the most comprehensive records extant of any major artist’s beginnings.^[23] 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.^[24] The academic realism 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.»^[25]

In 1897, his realism began to show a Symbolist influence, for example, 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 Edvard Munch, combined with his admiration for favourite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period.^[26]

Picasso made his first trip to Paris, then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poet Max Jacob, 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 work Picasso.^[27] From 1898 he signed his works as «Pablo Ruiz Picasso», then as «Pablo R. Picasso» until 1901. The change does not seem to imply a rejection of the father figure. Rather, he wanted to distinguish himself from others; initiated by his Catalan friends who habitually called him by his maternal surname, much less current than the paternal Ruiz.^[28]

Blue Period: 1901–1904

Picasso’s Blue Period (1901–1904), characterized by sombre paintings rendered in shades of blue and blue-green only occasionally warmed by other colours, began either in Spain in early 1901 or in Paris in the second half of the year.^[29] Many paintings of gaunt mothers with children date from the Blue Period, during which Picasso divided his time between Barcelona and Paris. In his austere use of colour 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 Carles Casagemas. Starting in autumn of 1901, he painted several posthumous portraits of Casagemas culminating in the gloomy allegorical painting La Vie (1903), now in the Cleveland Museum of Art.^[30]

The same mood pervades the well-known etching The Frugal Repast (1904),^[31] which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness, a recurrent theme in Picasso’s works of this period, is also represented in The Blindman’s Meal (1903, the Metropolitan Museum of Art) and in the portrait of Celestina (1903). Other Blue Period works include Portrait of Soler and Portrait of Suzanne Bloch.

Rose Period: 1904–1906

The Rose Period (1904–1906)^[32] is characterised by a lighter tone and style utilising orange and pink colours 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 bohemian artist who became his mistress, in Paris in 1904.^[19] Olivier appears in many of his Rose Period paintings, many of which 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.

By 1905, Picasso became a favourite of American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted a portrait of Gertrude Stein and one of her nephew Allan Stein. Gertrude Stein became Picasso’s principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris.^[34] 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’s and Matisse’s paintings. Eventually Leo Stein moved to Italy. Michael and Sarah Stein became patrons of Matisse, while Gertrude Stein continued to collect Picassos.^[35]

In 1907, Picasso joined an art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler, 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, Georges Braque and the Cubism that they jointly developed. Kahnweiler promoted burgeoning artists such as André Derain, Kees van Dongen, Fernand Léger, Juan Gris, Maurice de Vlaminck and several others who had come from all over the globe to live and work in Montparnasse at the time.^[36]

African art and primitivism: 1907–1909

Picasso’s African-influenced Period (1907–1909) begins with his painting Les Demoiselles d’Avignon. The three figures on the left were inspired by Iberian sculpture, but he repainted the faces of the two figures on the right after being powerfully impressed by African artefacts he saw in June 1907 in the ethnographic museum at Palais du Trocadéro.^[37] When he displayed the painting to acquaintances in his studio later that year, the nearly universal reaction was shock and revulsion; Matisse angrily dismissed the work as a hoax.^[38] Picasso did not exhibit Les Demoiselles publicly until 1916.

Other works from this period include Nude with Raised Arms (1907) and Three Women (1908). Formal ideas developed during this period lead directly into the Cubist period that follows.

Analytic cubism: 1909–1912

Analytic cubism (1909–1912) is a style of painting Picasso developed with Georges Braque using monochrome brownish and neutral colours. Both artists took apart objects and «analyzed» them in terms of their shapes. Picasso and Braque’s paintings at this time share many similarities.

In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry and Gertrude Stein. In 1911, Picasso was arrested and questioned about the theft of the Mona Lisa from the Louvre. Suspicion for the crime had initially fallen upon Apollinaire due to his links to Géry Pieret, an artist with a history of thefts from the gallery. Apollinaire in turn implicated his close friend Picasso, who had also purchased stolen artworks from the artist in the past. Afraid of a conviction that could result in his deportation to Spain, Picasso denied having ever met Apollinaire. Both were later cleared of any involvement in the painting’s disappearance.^[39][40]

Synthetic cubism: 1912–1919

Synthetic cubism (1912–1919) was a further development of the genre of cubism, 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.

Between 1915 and 1917, Picasso began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar or a glass, with an occasional element of collage. «Hard-edged square-cut diamonds», notes art historian John Richardson, «these gems do not always have upside or downside».^[41][42] «We need a new name to designate them,» wrote Picasso to Gertrude Stein. The term «Crystal Cubism» was later used as a result of visual analogies with crystals at the time.^[43][41][44] These «little gems» may have been produced by Picasso in response to critics who had claimed his defection from the movement, through his experimentation with classicism within the so-called return to order following the war.^[41][43]

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.^[45]

At the outbreak of World War I in August 1914, Picasso was living in Avignon. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the Spaniard Juan Gris remained from the Cubist circle. During the war, Picasso was able to continue painting uninterrupted, unlike his French comrades. His paintings became more sombre and his life changed with dramatic consequences. Kahnweiler’s contract had terminated on his exile from France. At this point Picasso’s work would be taken on by the art dealer Léonce Rosenberg. After the loss of Eva Gouel, Picasso had an affair with Gaby Lespinasse. During the spring of 1916, Apollinaire returned from the front wounded. They renewed their friendship, but Picasso began to frequent new social circles.^[46]

Towards the end of World War I, Picasso became involved with Serge Diaghilev’s Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris, and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev’s troupe, for whom Picasso was designing a ballet, Erik Satie’s Parade, in Rome; they spent their honeymoon near Biarritz in the villa of glamorous Chilean art patron Eugenia Errázuriz.

After returning from his honeymoon and in need of money, Picasso started his exclusive relationship with the French-Jewish art dealer Paul Rosenberg. As part of his first duties, Rosenberg agreed to rent the couple an apartment in Paris at his own expense, which was located next to his own house. This was the start of a deep brother-like friendship between two very different men, that would last until the outbreak of World War II.

Khokhlova introduced Picasso to high society, formal dinner parties, and other dimensions of the life of the rich in 1920s Paris. The two had a son, Paulo Picasso,^[47] who would grow up to be a motorcycle racer and chauffeur to his 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 troupe, he and Igor Stravinsky collaborated on Pulcinella in 1920. Picasso took the opportunity to make several drawings of the composer.^[48]

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 hope that Picasso would one day marry her, and hanged herself four years after Picasso’s death.

• 

  1909–10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm (36 x 28 in), Tate Modern, London. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

• 

  1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 × 60 cm (28 x 23 in), Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913

• 

  1910–11, Guitariste, La mandoliniste (Woman playing guitar or mandolin), oil on canvas

• 

  1911, The Poet (Le poète), oil on linen, 131.2 × 89.5 cm (51 5/8 × 35 1/4 in), The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice

• 

  1911–12, Violon (Violin), oil on canvas, 100 × 73 cm (39 x 28 in) (oval), Kröller-Müller Museum, Otterlo, Netherlands. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

• 

  1913, Bouteille, clarinet, violon, journal, verre, 55 × 45 cm (21 x 17 in). This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

• 

  1913, Femme assise dans un fauteuil (Eva), Woman in a Chemise in an Armchair, oil on canvas, 149.9 × 99.4 cm (59 x 39 in), Leonard A. Lauder Cubist Collection, Metropolitan Museum of Art

• 

  1913–14, L’Homme aux cartes (Card Player), oil on canvas, 108 × 89.5 cm (42 x 35 in), Museum of Modern Art, New York

• 

  1914–15, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 63.5 × 78.7 cm (25 × 31 in), Columbus Museum of Art, Ohio

• 

  1916, L’anis del mono (Bottle of Anis del Mono), oil on canvas, 46 × 54.6 cm (18 x 21 in), Detroit Institute of Arts, Michigan

Neoclassicism and surrealism: 1919–1929

In February 1917, Picasso made his first trip to Italy.^[49] In the period following the upheaval of World War I, Picasso produced work in a neoclassical style. This «return to order» is evident in the work of many European artists in the 1920s, including André Derain, Giorgio de Chirico, Gino Severini, Jean Metzinger, the artists of the New Objectivity movement and of the Novecento Italiano movement. Picasso’s paintings and drawings from this period frequently recall the work of Raphael and Ingres.

In 1925 the Surrealist writer and poet André Breton declared Picasso as ‘one of ours’ in his article Le Surréalisme et la peinture, published in Révolution surréaliste. Les Demoiselles was reproduced for the first time in Europe in the same issue. Yet Picasso exhibited Cubist works at the first Surrealist group exhibition in 1925; the concept of ‘psychic automatism in its pure state’ defined in the Manifeste du surréalisme never appealed to him entirely. He did at the time develop new imagery and formal syntax for expressing himself emotionally, «releasing the violence, the psychic fears and the eroticism that had been largely contained or sublimated since 1909», writes art historian Melissa McQuillan.^[50] Although this transition in Picasso’s work was informed by Cubism for its spatial relations, «the fusion of ritual and abandon in the imagery recalls the primitivism of the Demoiselles and the elusive psychological resonances of his Symbolist work», writes McQuillan.^[50] Surrealism revived Picasso’s attraction to primitivism and eroticism.^[50]

• 

  Pablo Picasso, 1918, Portrait d’Olga dans un fauteuil (Olga in an Armchair), Musée Picasso, Paris, France

• 

  Pablo Picasso, 1919, Sleeping Peasants, gouache, watercolor and pencil on paper, 31.1 × 48.9 cm, Museum of Modern Art

The Great Depression to MoMA exhibition: 1930–1939

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 Vollard Suite of etchings.^[51]

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.»^[52][53] Guernica was exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, and then became the centerpiece of an exhibition of 118 works by Picasso, Matisse, Braque and Henri Laurens that toured Scandinavia and England. After the victory of Francisco Franco in Spain, the painting was sent to the United States to raise funds and support for Spanish refugees. Until 1981 it was entrusted to the Museum of Modern Art (MoMA) in New York City, as it was Picasso’s expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country.

In 1939 and 1940, the Museum of Modern Art in New York City, under its director Alfred Barr, a Picasso enthusiast, held a major retrospective of Picasso’s principal works until that time. This exhibition lionized Picasso, brought into full public view in America the scope of his artistry, and resulted in a reinterpretation of his work by contemporary art historians and scholars.^[54] According to Jonathan Weinberg, «Given the extraordinary quality of the show and Picasso’s enormous prestige, generally heightened by the political impact of Guernica … the critics were surprisingly ambivalent».^[55] Picasso’s «multiplicity of styles» was disturbing to one journalist; another described him as «wayward and even malicious»; Alfred Frankenstein’s review in ARTnews concluded that Picasso was both charlatan and genius.^[55]

World War II and late 1940s: 1939–1949

During World War II, 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. He was often harassed by the Gestapo. During one search of his apartment, an officer saw a photograph of the painting Guernica. «Did you do that?» the German asked Picasso. «No,» he replied, «You did.»^[58]

Retreating to his studio, he continued to paint, producing works such as the Still Life with Guitar (1942) and The Charnel House (1944–48). Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.^[59]

Around this time, Picasso wrote poetry as an alternative outlet. Between 1935 and 1959 he wrote over 300 poems. Largely untitled 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 The Four Little Girls (1949).^[60]

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 Picasso, born in 1947 and Paloma Picasso, born in 1949. In her 1964 book Life with Picasso,^[61] 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. 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. Jacqueline Roque (1927–1986) worked at the Madoura Pottery in Vallauris on the French Riviera, 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 marry Picasso to secure the rights of her children as Picasso’s legitimate heirs. Picasso had already secretly married Roque, after Gilot had filed for divorce. His strained relationship with Claude and Paloma was never healed.^[62]

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 Provence-Alpes-Côte d’Azur. He was an international celebrity, with often as much interest in his personal life as his art.^[63]

Later works to final years: 1949–1973

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 Velázquez’s painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.

In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau’s Testament of Orpheus (1960). In 1955, he helped make the film Le Mystère Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot.

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 Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. Picasso said the figure represented the head of an Afghan Hound named Kabul.^[64] The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the 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 colourful and expressive, and from 1968 to 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.^[65][66] Only later, after Picasso’s death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see the late works of Picasso as prefiguring Neo-Expressionism.^[67]

Death

Pablo Picasso died on 8 April 1973 in Mougins, France, from pulmonary edema and a heart attack, the morning after he and his wife Jacqueline entertained friends for dinner. He was interred at the Château of Vauvenargues near Aix-en-Provence, a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1962. Jacqueline prevented his children Claude and Paloma from attending the funeral.^[68] Devastated and lonely after the death of Picasso, Jacqueline killed herself by gunshot in 1986 when she was 59 years old.^[69]

Political views

Picasso remained aloof from the Catalan independence movement during his youth despite expressing general support and being friendly with activists within it.^[70] He did not join the armed forces for any side or country during World War I, the Spanish Civil War, or World War II. As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either world war. In 1940, he applied for French citizenship, but it was refused on the grounds of his «extremist ideas evolving towards communism». This information was not revealed until 2003.^[71]

At the start of the Spanish Civil War in 1936, Picasso was 54 years of age. Soon after hostilities began, the Republicans appointed him «director of the Prado, albeit in absentia», and «he took his duties very seriously», according to John Richardson, supplying the funds to evacuate the museum’s collection to Geneva.^[72] The war provided the impetus for Picasso’s first overtly political work. He expressed anger and condemnation of Francisco Franco and fascists in The Dream and Lie of Franco (1937), which was produced «specifically for propagandistic and fundraising purposes».^[73] This surreal fusion of words and images was intended to be sold as a series of postcards to raise funds for the Spanish Republican cause.^[73][74]

In 1944, Picasso joined the French Communist Party. He attended the 1948 World Congress of Intellectuals in Defense of Peace in Poland, and in 1950 received the Stalin Peace Prize from the Soviet government.^[75] A portrait of Joseph Stalin made by Picasso in 1953 drew Party criticism due to being insufficiently realistic, though he remained a loyal member of the Communist Party until his death.^[72] His dealer, D-H. Kahnweiler, a socialist, termed Picasso’s communism «sentimental» rather than political, saying «He has never read a line of Karl Marx, nor of Engels of course.»^[72] 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.»^[76] His commitment to communism, common among continental intellectuals and artists at the time, has long been the subject of some controversy; a notable demonstration thereof was a quote by Salvador Dalí (with whom Picasso had a rather strained relationship^[77]):

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.)^[78][79][80]

In the late 1940s, his old friend the surrealist poet, Trotskyist,^[81] 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.»^[82]
As a communist, Picasso opposed the intervention of the United Nations and the United States in the Korean War, and depicted it in Massacre in Korea.^[83][84] The art critic Kirsten Hoving Keen wrote that it was «inspired by reports of American atrocities» and considered it one of Picasso’s communist works.^[85]

On 9 January 1949, Picasso created Dove, a black and white lithograph. It was used to illustrate a poster at the 1949 World Peace Council and became an iconographic image of the period, known as «The dove of peace». Picasso’s image was used around the world as a symbol of the Peace Congresses and communism.^[86]

In 1962, he received the Lenin Peace Prize.^[87] Biographer and art critic John Berger felt his talents as an artist were «wasted» by the communists.^[88] 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.»^[89]

Style and technique

Picasso was exceptionally prolific throughout his long lifetime. At his death there were more than 45,000 unsold works in his estate, comprising 1,885 paintings, 1,228 sculptures, 3,222 ceramics, 7,089 drawings, 150 sketchbooks, many thousands of prints, and numerous tapestries and rugs.^[90] The most complete – but not exhaustive – catalogue of his works, the catalogue raisonné compiled by Christian Zervos, lists more than 16,000 paintings and drawings.^[91] Picasso’s output was several times more prolific than most artists of his era; by at least one account, American artist Bob Ross is the only one to rival Picasso’s volume, and Ross’s artwork was designed specifically to be easily mass-produced quickly.^[92]

The medium in which Picasso made his most important contribution was painting.^[93] In his paintings, Picasso used colour as an expressive element, but relied on drawing rather than subtleties of colour to create form and space.^[93] He sometimes added sand to his paint to vary its texture. A nanoprobe of Picasso’s The Red Armchair (1931), in the collection of the Art Institute of Chicago, by physicists at Argonne National Laboratory in 2012 confirmed art historians’ belief that Picasso used common house paint in many of his paintings.^[94][95] Much of his painting was done at night by artificial light.

Picasso’s early sculptures were carved from wood or modelled in wax or clay, but from 1909 to 1928 Picasso abandoned modelling and instead made sculptural constructions using diverse materials.^[93] An example is Guitar (1912), a relief construction made of sheet metal and wire that Jane Fluegel terms a «three-dimensional planar counterpart of Cubist painting» that marks a «revolutionary departure from the traditional approaches, modeling and carving».^[96]

From the beginning of his career, Picasso displayed an interest in subject matter of every kind,^[97] and demonstrated a great stylistic versatility that enabled him to work in several styles at once. For example, his paintings of 1917 included the pointillist Woman with a Mantilla, the Cubist Figure in an Armchair, and the naturalistic Harlequin (all in the Museu Picasso, Barcelona). In 1919, he made a number of drawings from postcards and photographs that reflect his interest in the stylistic conventions and static character of posed photographs.^[98] In 1921 he simultaneously painted several large neoclassical paintings and two versions of the Cubist composition Three Musicians (Museum of Modern Art, New York; Philadelphia Museum of Art).^[49] In an interview published in 1923, Picasso said, «The several manners I have used in my art must not be considered as an evolution, or as steps towards an unknown ideal of painting … If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them.»^[49]

Although his Cubist works approach abstraction, Picasso never relinquished the objects of the real world as subject matter. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles.^[99] When Picasso depicted complex narrative scenes it was usually in prints, drawings, and small-scale works; Guernica (1937) is one of his few large narrative paintings.^[98]

Picasso painted mostly from imagination or memory. According to William Rubin, Picasso «could only make great art from subjects that truly involved him … Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own.»^[100] The art critic Arthur Danto said Picasso’s work constitutes a «vast pictorial autobiography» that provides some basis for the popular conception that «Picasso invented a new style each time he fell in love with a new woman».^[100] The autobiographical nature of Picasso’s art is reinforced by his habit of dating his works, often to the day. He explained: «I want to leave to posterity a documentation that will be as complete as possible. That’s why I put a date on everything I do.»^[100]

Artistic legacy

Picasso’s influence was and remains immense and widely acknowledged by his admirers and detractors alike. On the occasion of his 1939 retrospective at MoMA, Life magazine wrote: «During the 25 years he has dominated modern European art, his enemies say he has been a corrupting influence. With equal violence, his friends say he is the greatest artist alive.»^[101] Picasso was the first artist to receive a special honour exhibition at the Grand Gallery of the Louvre Museum in Paris in celebration of his 90 years.^[102] In 1998, Robert Hughes wrote of him: «To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace. … No painter or sculptor, not even Michelangelo, had been as famous as this in his own lifetime. … Though Marcel Duchamp, that cunning old fox of conceptual irony, has certainly had more influence on nominally vanguard art over the past 30 years than Picasso, the Spaniard was the last great beneficiary of the belief that the language of painting and sculpture really mattered to people other than their devotees.»^[103]

At the time of Picasso’s 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.

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 of the Museo del Prado. In 1992, the painting was put on display in the Reina Sofía Museum when it opened.

In 1985, a museum was established in Buitrago del Lozoya by Picasso’s friend Eugenio Arias Herranz.^[104]

It was announced on 22 September 2020 that the project for a new Picasso Museum due to open in Aix-en-Provence in 2021, in a former convent (Couvent des Prêcheurs), which would have held the largest collection of his paintings of any museum, had been scrapped due to the fact that Catherine Hutin-Blay, Jacqueline Picasso’s daughter, and the City Council had failed to reach an agreement.^[105]

In the 1996 movie Surviving Picasso, Picasso is portrayed by actor Anthony Hopkins.^[106] Picasso is also a character in Steve Martin’s 1993 play, Picasso at the Lapin Agile. In A Moveable Feast by Ernest Hemingway, Hemingway tells Gertrude Stein that he would like to have some Picassos, but cannot afford them. Later in the book, Hemingway mentions looking at one of Picasso’s paintings. He refers to it as Picasso’s nude of the girl with the basket of flowers, possibly related to Young Naked Girl with Flower Basket.
On 8 October 2010, 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, opened at the Seattle Art Museum, Seattle, Washington, US. The exhibition subsequently travelled to the Virginia Museum of Fine Arts, Richmond, Virginia: the M.H. de Young Memorial Museum, San Francisco, California, US.;^[107] the Art Gallery of New South Wales, Sydney, Australia;^[108] and the Art Gallery of Ontario, Toronto, Ontario, Canada.

As of 2015, Picasso remained the top-ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.^[109] More of his paintings have been stolen than any other artist’s;^[110] in 2012, the Art Loss Register had 1,147 of his works listed as stolen.^[111] The Picasso Administration functions as his official Estate. The US copyright representative for the Picasso Administration is the Artists Rights Society.^[112]

Picasso is played by Antonio Banderas in the 2018 season of Genius which focuses on his life and art.

The Basel vote

In the 1940s, a Swiss insurance company based in Basel had bought two paintings by Picasso to diversify its investments and serve as a guarantee for the insured risks. Following an air disaster in 1967, the company had to pay out heavy reimbursements. The company decided to part with the two paintings, which were deposited in the Kunstmuseum Basel. In 1968, a large number of Basel citizens called for a local referendum on the purchase of the Picassos by the Canton of Basel-Stadt, which was successful, making it the first time in democratic history that the population of a city voted on the purchase of works of art for a public art museum.^[113] The paintings therefore remained in the museum in Basel. Informed of this, Picasso donated three paintings and a sketch to the city and its museum and was later made an honorary citizen by the city.^[114]

Auction history

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.^[115] 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 a bust, was in the personal collection of Los Angeles philanthropist Frances Lasker Brody, who died in November 2009.^[116] On 11 May 2015 his painting Women of Algiers set the record for the highest price ever paid for a painting when it sold for US$179.3 million at Christie’s in New York.^[117]

On 21 June 2016, a painting by Pablo Picasso titled Femme Assise (1909) sold for £43.2 million ($63.4 million) at Sotheby’s London, exceeding the estimate by nearly $20 million, setting a world record for the highest price ever paid at auction for a Cubist work.^[118][119]

On 17 May 2017, The Jerusalem Post in an article titled «Picasso Work Stolen By Nazis Sells for $45 Million at Auction» reported the sale of a portrait painted by Picasso, the 1939 Femme assise, robe bleu, which was previously misappropriated during the early years of WWII. The painting has changed hands several times since its recovery, most recently through auction in May 2017 at Christie’s in New York City.^[120]

In March 2018, his Femme au Béret et à la Robe Quadrillée (1937), a portrait of Marie-Thérèse Walter, sold for £49.8m at Sotheby’s in London.^[121]

Personal life

Throughout his life Picasso maintained several mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women:

• Paulo (4 February 1921 – 5 June 1975, Paul Joseph Picasso) – with Olga Khokhlova
• Maya (5 September 1935 – 20 December 2022, Maria de la Concepcion Picasso) – with Marie-Thérèse Walter
• Claude (born 15 May 1947, Claude Pierre Pablo Picasso) – with Françoise Gilot
• Paloma (born 19 April 1949, Anne Paloma Picasso) – with Françoise Gilot

Photographer and painter Dora Maar 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.

The women in Picasso’s life played an important role in the emotional and erotic aspects of his creative expression, and the tumultuous nature of these relationships has been considered vital to his artistic process. Many of these women functioned as muses for him, and their inclusion in his extensive oeuvre granted them a place in art history.^[122] A largely recurring motif in his body of work is the female form. The variations in his relationships informed and collided with his progression of style throughout his career. For example, portraits created of his first wife, Olga, were rendered in a naturalistic style during his Neoclassical period. His relationship with Marie-Thérèse Walter inspired many of his surrealist pieces, as well as what is referred to as his «Year of Wonders».^[123] Reappearance of acrobats theme in 1905 put an end to his «Blue Period» and transitioned into his «Rose Period». This transition has been incorrectly attributed to the presence of Fernande Olivier in his life.^[124]: 75

Picasso has been commonly characterised as a womaniser and a misogynist, being quoted as having said to one of his mistresses, Françoise Gilot, «Women are machines for suffering.»^[125] He later told her, «For me there are only two kinds of women: goddesses and doormats.»^[126] In her memoir, Picasso, My Grandfather, Marina Picasso writes of his treatment of women, «He submitted them to his animal sexuality, tamed them, bewitched them, ingested them, and crushed them onto his canvas. After he had spent many nights extracting their essence, once they were bled dry, he would dispose of them.»^[127]

Of the several important women in his life, two, Marie-Thèrése Walter, a mistress, and Jacqueline Roque, his second wife, died by suicide. Others, notably his first wife Olga Khokhlova, and his mistress Dora Maar, succumbed to nervous breakdowns. His son, Paulo, developed a fatal alcoholism due to depression. His grandson, Pablito, also died by suicide that same year by ingesting bleach when he was barred by Jacqueline Roque from attending the artist’s funeral.^[125]

Catalogue raisonné

Picasso entrusted Christian Zervos to constitute the catalogue raisonné of his work (painted and drawn). The first volume of the catalogue, Works from 1895 to 1906, published in 1932, entailed the financial ruin of Zervos, self-publishing under the name Cahiers d’art, forcing him to sell part of his art collection at auction to avoid bankruptcy.^[128][129]

From 1932 to 1978, Zervos constituted the catalogue raisonné of the complete works of Picasso in the company of the artist who had become one of his friends in 1924. Following the death of Zervos, Mila Gagarin supervised the publication of 11 additional volumes from 1970 to 1978.^[130]

The 33 volumes cover the entire work from 1895 to 1972, with close to 16,000 black and white photographs, in accord with the will of the artist.^[131]

• 1932: tome I, Œuvres de 1895 à 1906. Introduction p. XI–[XXXXIX], 185 pages, 384 reproductions
• 1942: tome II, vol.1, Œuvres de 1906 à 1912. Introduction p. XI–[LV], 172 pages, 360 reproductions
• 1944: tome II, vol.2, Œuvres de 1912 à 1917. Introduction p. IX–[LXX–VIII], 233 p. pp. 173 to 406, 604 reproductions
• 1949: tome III, Œuvres de 1917 à 1919. Introduction p. IX–[XIII], 152 pages, 465 reproductions
• 1951: tome IV, Œuvres de 1920 à 1922. Introduction p. VII–[XIV], 192 pages, 455 reproductions
• 1952: tome V, Œuvres de 1923 à 1925. Introduction p. IX–[XIV], 188 pages, 466 reproductions
• 1954: tome VI, Supplément aux tomes I à V. Sans introduction, 176 pages, 1481 reproductions
• 1955: tome VII, Œuvres de 1926 à 1932. Introduction p. V–[VII], 184 pages, 424 reproductions

• 1978: Catalogue raisonné des œuvres de Pablo Picasso, Paris, Éditions Cahiers d’art^[132]

Further publications by Zervos

• Picasso. Œuvres de 1920 à 1926, Cahiers d’art, Paris
• Dessins de Picasso 1892–1948, Paris, Éditions Cahiers d’art, 1949
• Picasso. Dessins (1892–1948), Hazan, 199 reproductions, 1949

See also

• Picasso’s written works
• List of Picasso artworks 1889–1900
  • 1901–1910
  • 1911–1920
  • 1921–1930
  • 1931–1940
  • 1941–1950
  • 1951–1960
  • 1961–1970
  • 1971–1973
• Neoclassicism

Notes and references

Notes

References

Sources

• Becht-Jördens, Gereon; Wehmeier, Peter M. (2003). Picasso und die christliche Ikonographie: Mutterbeziehung und künstlerische Position. Berlin: Dietrich Reimer Verlag. ISBN 978-3-496-01272-6.
• Berger, John (1989). The Success and Failure of Picasso. Pantheon Books. ISBN 978-0-679-72272-4.
• Cirlot, Juan Eduardo (1972). Picasso, Birth of a Genius. New York and Washington: Praeger.
• Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism, 1910–1930. London: Tate Gallery. ISBN 978-1-85437-043-3.
• Daix, Pierre (1994). Picasso: Life and Art. Icon Editions. ISBN 978-0-06-430201-2.
• FitzGerald, Michael C. (1996). Making Modernism: Picasso and the Creation of the Market for Twentieth-century Art. Berkeley: University of California Press. ISBN 978-0-520-20653-3.
• Gether, Christian, ed. (2019). Beloved by Picasso: The Power of the Model. ARKEN Museum of Modern Art. 978-87-78751-34-8.
• Granell, Eugenio Fernández (1981). Picasso’s Guernica: The End of a Spanish Era. Ann Arbor, Mich.: UMI Research Press. ISBN 978-0-8357-1206-4.
• Jackson, Jeffrey B. (2016). «Chronology» in: The Picasso Project: Synthetic Cubism, 1912-1917. Alan Wofsy Fine Arts. ISBN 978-1-55660-332-7.
• Krauss, Rosalind E. (1999). The Picasso Papers. MIT Press. ISBN 978-0-262-61142-8.
• Mallén, Enrique (2003). The Visual Grammar of Pablo Picasso. New York: Peter Lang. ISBN 978-0-8204-5692-8.
• Mallén, Enrique (2005). La sintaxis de la carne: Pablo Picasso y Marie-Thérèse Walter. Santiago de Chile: Red Internacional del Libro. ISBN 978-956-284-455-0.
• Mallén, Enrique (2009). A Concordance of Pablo Picasso’s Spanish Writings. Lewiston, New York: Edwin Mellen Press. ISBN 978-0-7734-4713-4.
• Mallén, Enrique (2010). A Concordance of Pablo Picasso’s French Writings. Lewiston, New York: Edwin Mellen Press. ISBN 978-0-7734-1325-2. Retrieved 8 October 2010.
• Nill, Raymond M. (1987). A Visual Guide to Pablo Picasso’s Works. New York: B&H Publishers.
• Picasso, Olivier Widmaier (2004). Picasso: The Real Family Story. Prestel. ISBN 978-3-7913-3149-2.
• Rubin, William (1981). Pablo Picasso: A Retrospective. Little Brown & Co. ISBN 978-0-316-70703-9.
• Wattenmaker, Richard J. (1993). Great French Paintings from the Barnes Foundation: Impressionist, Post-impressionist, and Early Modern. New York: Alfred A. Knopf. ISBN 978-0-679-40963-2.
• Wertenbaker, Lael Tucker (1967). The World of Picasso (1881– ). Time-Life Books.

Further reading

• Alexandra Schwartz, «Painted Love: The artist Françoise Gilot was Picasso’s lover, helpmate, and muse. Then she wanted more», The New Yorker, 22 July 2019, pages 62–66. «[L]ives were trampled. Picasso died, at the age of ninety-one, in 1973. In 1977, Marie-Thérèse Walter hanged herself; eight years later, Jacqueline Roque, Gilot’s successor and Picasso’s second wife, shot herself in the head. Paulo, his son with Olga [Khokhlova], drank himself to death, in 1975, and Paulo’s son, Pablito, killed himself by swallowing bleach when he was barred from attending his grandfather’s funeral.» (p. 66.)

External links

• Works by or about Pablo Picasso at Internet Archive
• Works by or about Pablo Picasso in libraries (WorldCat catalog)
• Picasso discography at Discogs
• Picasso at IMDb
• Picasso in American public collections, on the French Sculpture Census website
• «On-line Picasso Project».
• Picasso at the Guggenheim Museum
• Picasso at the Los Angeles County Museum of Art (LACMA)
• Picasso at Metropolitan Museum of Art (New York City, New York)
• Picasso at the Museum of Modern Art (MoMA) (New York City, New York)
• Musée National Picasso Archived 11 December 2017 at the Wayback Machine (Paris, France)
• Museo Picasso Málaga (Málaga, Spain)
• Museu Picasso (Barcelona, Spain)
• Museo Picasso (Buitrago de Lozoya, Spain)
• Picasso at the National Gallery of Art (Washington, DC)
• Picasso, L’Esprit nouveau: revue internationale d’esthétique, 1920. Gallica, Bibliothèque nationale de France
• W.H. Crain Costume and Scene Design Collection at the Harry Ransom Center

In this Spanish name, the first or paternal surname is Ruiz and the second or maternal family name is Picasso.

Pablo Picasso
Picasso in 1908
Born	Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso[1] 25 October 1881 Málaga, Kingdom of Spain
Died	8 April 1973 (aged 91) Mougins, France
Resting place	Château of Vauvenargues 43°33′15″N 5°36′16″E / 43.554142°N 5.604438°E
Education	José Ruiz y Blasco (father) Real Academia de Bellas Artes de San Fernando
Known for	Painting, drawing, sculpture, printmaking, ceramics, stage design, writing
Notable work	La Vie (1903) Family of Saltimbanques (1905) Les Demoiselles d’Avignon (1907) Portrait of Daniel-Henry Kahnweiler (1910) Girl before a Mirror (1932) Le Rêve (1932) Guernica (1937) The Weeping Woman (1937) Massacre in Korea (1951)
Movement	Cubism, Surrealism
Spouses	Olga Khokhlova ​ ​ (m. 1918; died 1955)​ Jacqueline Roque ​ (m. 1961)​
Partners	Marie-Thérèse Walter (1927–1935) Dora Maar (1935–1943) Françoise Gilot (1943–1953)
Children	Paulo Picasso Maya Widmaier-Picasso Claude Picasso Paloma Picasso
Family	Marina Picasso (granddaughter) Bernard Ruiz-Picasso (grandson)
Patron(s)	Sergei Shchukin
Signature

Pablo Ruiz Picasso^[a][b] (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,^[8][9] the co-invention of collage, 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 the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War.

Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art.^{[10][11][12][13]}

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 (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso’s work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.

Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art.

Early life

Picasso was born at 23:15 on 25 October 1881, in the city of Málaga, Andalusia, in southern Spain.^[2] He was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López.^[14] Picasso’s family was of middle-class background. 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.^[1] Ruiz’s ancestors were minor aristocrats.

Picasso’s birth certificate and the record of his baptism include very long names, combining those of various saints and relatives.^[a][c] Ruiz y Picasso were his paternal and maternal surnames, respectively, per Spanish custom. The surname «Picasso» comes from Liguria, a coastal region of north-western Italy; its capital is Genoa.^[16] There was a painter from the area named Matteo Picasso [it] (1794–1879), born in Recco (Genoa), of late neoclassical style portraiture,^[16] though investigations have not definitively determined his kinship with the branch of ancestors related to Pablo Picasso. The direct branch from Sori, Liguria (Genoa), can be traced back to Tommaso Picasso (1728–1813). His son Giovanni Battista, married to Isabella Musante, was Pablo’s great-great-grandfather. Of this marriage was born Tommaso (Sori, 1787–Málaga, 1851). Pablo’s maternal great-grandfather, Tommaso Picasso moved to Spain around 1807.^[16]

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».^[17] From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. 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 models. His son became preoccupied with art to the detriment of his classwork.

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,^[18] though paintings by him exist from later years.

In 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria.^[19] 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.^[20] 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 jury admitted him, at just 13. As a student, Picasso lacked discipline but made friendships that would affect him in later life. His father rented a small room for him 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.^[21]

Picasso’s father and uncle decided to send the young artist to Madrid’s Real Academia de Bellas Artes de San Fernando, the country’s foremost art school.^[20] At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrollment. Madrid held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso’s later work.^[22]

Career

Before 1900

Picasso’s training under his father began before 1890. His progress can be traced in the collection of early works now held by the Museu Picasso in Barcelona, which provides one of the most comprehensive records extant of any major artist’s beginnings.^[23] 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.^[24] The academic realism 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.»^[25]

In 1897, his realism began to show a Symbolist influence, for example, 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 Edvard Munch, combined with his admiration for favourite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period.^[26]

Picasso made his first trip to Paris, then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poet Max Jacob, 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 work Picasso.^[27] From 1898 he signed his works as «Pablo Ruiz Picasso», then as «Pablo R. Picasso» until 1901. The change does not seem to imply a rejection of the father figure. Rather, he wanted to distinguish himself from others; initiated by his Catalan friends who habitually called him by his maternal surname, much less current than the paternal Ruiz.^[28]

Blue Period: 1901–1904

Picasso’s Blue Period (1901–1904), characterized by sombre paintings rendered in shades of blue and blue-green only occasionally warmed by other colours, began either in Spain in early 1901 or in Paris in the second half of the year.^[29] Many paintings of gaunt mothers with children date from the Blue Period, during which Picasso divided his time between Barcelona and Paris. In his austere use of colour 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 Carles Casagemas. Starting in autumn of 1901, he painted several posthumous portraits of Casagemas culminating in the gloomy allegorical painting La Vie (1903), now in the Cleveland Museum of Art.^[30]

The same mood pervades the well-known etching The Frugal Repast (1904),^[31] which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness, a recurrent theme in Picasso’s works of this period, is also represented in The Blindman’s Meal (1903, the Metropolitan Museum of Art) and in the portrait of Celestina (1903). Other Blue Period works include Portrait of Soler and Portrait of Suzanne Bloch.

Rose Period: 1904–1906

The Rose Period (1904–1906)^[32] is characterised by a lighter tone and style utilising orange and pink colours 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 bohemian artist who became his mistress, in Paris in 1904.^[19] Olivier appears in many of his Rose Period paintings, many of which 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.

By 1905, Picasso became a favourite of American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted a portrait of Gertrude Stein and one of her nephew Allan Stein. Gertrude Stein became Picasso’s principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris.^[34] 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’s and Matisse’s paintings. Eventually Leo Stein moved to Italy. Michael and Sarah Stein became patrons of Matisse, while Gertrude Stein continued to collect Picassos.^[35]

In 1907, Picasso joined an art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler, 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, Georges Braque and the Cubism that they jointly developed. Kahnweiler promoted burgeoning artists such as André Derain, Kees van Dongen, Fernand Léger, Juan Gris, Maurice de Vlaminck and several others who had come from all over the globe to live and work in Montparnasse at the time.^[36]

African art and primitivism: 1907–1909

Picasso’s African-influenced Period (1907–1909) begins with his painting Les Demoiselles d’Avignon. The three figures on the left were inspired by Iberian sculpture, but he repainted the faces of the two figures on the right after being powerfully impressed by African artefacts he saw in June 1907 in the ethnographic museum at Palais du Trocadéro.^[37] When he displayed the painting to acquaintances in his studio later that year, the nearly universal reaction was shock and revulsion; Matisse angrily dismissed the work as a hoax.^[38] Picasso did not exhibit Les Demoiselles publicly until 1916.

Other works from this period include Nude with Raised Arms (1907) and Three Women (1908). Formal ideas developed during this period lead directly into the Cubist period that follows.

Analytic cubism: 1909–1912

Analytic cubism (1909–1912) is a style of painting Picasso developed with Georges Braque using monochrome brownish and neutral colours. Both artists took apart objects and «analyzed» them in terms of their shapes. Picasso and Braque’s paintings at this time share many similarities.

In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry and Gertrude Stein. In 1911, Picasso was arrested and questioned about the theft of the Mona Lisa from the Louvre. Suspicion for the crime had initially fallen upon Apollinaire due to his links to Géry Pieret, an artist with a history of thefts from the gallery. Apollinaire in turn implicated his close friend Picasso, who had also purchased stolen artworks from the artist in the past. Afraid of a conviction that could result in his deportation to Spain, Picasso denied having ever met Apollinaire. Both were later cleared of any involvement in the painting’s disappearance.^[39][40]

Synthetic cubism: 1912–1919

Synthetic cubism (1912–1919) was a further development of the genre of cubism, 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.

Between 1915 and 1917, Picasso began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar or a glass, with an occasional element of collage. «Hard-edged square-cut diamonds», notes art historian John Richardson, «these gems do not always have upside or downside».^[41][42] «We need a new name to designate them,» wrote Picasso to Gertrude Stein. The term «Crystal Cubism» was later used as a result of visual analogies with crystals at the time.^[43][41][44] These «little gems» may have been produced by Picasso in response to critics who had claimed his defection from the movement, through his experimentation with classicism within the so-called return to order following the war.^[41][43]

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.^[45]

At the outbreak of World War I in August 1914, Picasso was living in Avignon. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the Spaniard Juan Gris remained from the Cubist circle. During the war, Picasso was able to continue painting uninterrupted, unlike his French comrades. His paintings became more sombre and his life changed with dramatic consequences. Kahnweiler’s contract had terminated on his exile from France. At this point Picasso’s work would be taken on by the art dealer Léonce Rosenberg. After the loss of Eva Gouel, Picasso had an affair with Gaby Lespinasse. During the spring of 1916, Apollinaire returned from the front wounded. They renewed their friendship, but Picasso began to frequent new social circles.^[46]

Towards the end of World War I, Picasso became involved with Serge Diaghilev’s Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris, and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev’s troupe, for whom Picasso was designing a ballet, Erik Satie’s Parade, in Rome; they spent their honeymoon near Biarritz in the villa of glamorous Chilean art patron Eugenia Errázuriz.

After returning from his honeymoon and in need of money, Picasso started his exclusive relationship with the French-Jewish art dealer Paul Rosenberg. As part of his first duties, Rosenberg agreed to rent the couple an apartment in Paris at his own expense, which was located next to his own house. This was the start of a deep brother-like friendship between two very different men, that would last until the outbreak of World War II.

Khokhlova introduced Picasso to high society, formal dinner parties, and other dimensions of the life of the rich in 1920s Paris. The two had a son, Paulo Picasso,^[47] who would grow up to be a motorcycle racer and chauffeur to his 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 troupe, he and Igor Stravinsky collaborated on Pulcinella in 1920. Picasso took the opportunity to make several drawings of the composer.^[48]

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 hope that Picasso would one day marry her, and hanged herself four years after Picasso’s death.

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  1909–10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm (36 x 28 in), Tate Modern, London. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

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  1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 × 60 cm (28 x 23 in), Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913

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  1910–11, Guitariste, La mandoliniste (Woman playing guitar or mandolin), oil on canvas

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  1911, The Poet (Le poète), oil on linen, 131.2 × 89.5 cm (51 5/8 × 35 1/4 in), The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice

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  1911–12, Violon (Violin), oil on canvas, 100 × 73 cm (39 x 28 in) (oval), Kröller-Müller Museum, Otterlo, Netherlands. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

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  1913, Bouteille, clarinet, violon, journal, verre, 55 × 45 cm (21 x 17 in). This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921

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  1913, Femme assise dans un fauteuil (Eva), Woman in a Chemise in an Armchair, oil on canvas, 149.9 × 99.4 cm (59 x 39 in), Leonard A. Lauder Cubist Collection, Metropolitan Museum of Art

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  1913–14, L’Homme aux cartes (Card Player), oil on canvas, 108 × 89.5 cm (42 x 35 in), Museum of Modern Art, New York

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  1914–15, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 63.5 × 78.7 cm (25 × 31 in), Columbus Museum of Art, Ohio

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  1916, L’anis del mono (Bottle of Anis del Mono), oil on canvas, 46 × 54.6 cm (18 x 21 in), Detroit Institute of Arts, Michigan

Neoclassicism and surrealism: 1919–1929

In February 1917, Picasso made his first trip to Italy.^[49] In the period following the upheaval of World War I, Picasso produced work in a neoclassical style. This «return to order» is evident in the work of many European artists in the 1920s, including André Derain, Giorgio de Chirico, Gino Severini, Jean Metzinger, the artists of the New Objectivity movement and of the Novecento Italiano movement. Picasso’s paintings and drawings from this period frequently recall the work of Raphael and Ingres.

In 1925 the Surrealist writer and poet André Breton declared Picasso as ‘one of ours’ in his article Le Surréalisme et la peinture, published in Révolution surréaliste. Les Demoiselles was reproduced for the first time in Europe in the same issue. Yet Picasso exhibited Cubist works at the first Surrealist group exhibition in 1925; the concept of ‘psychic automatism in its pure state’ defined in the Manifeste du surréalisme never appealed to him entirely. He did at the time develop new imagery and formal syntax for expressing himself emotionally, «releasing the violence, the psychic fears and the eroticism that had been largely contained or sublimated since 1909», writes art historian Melissa McQuillan.^[50] Although this transition in Picasso’s work was informed by Cubism for its spatial relations, «the fusion of ritual and abandon in the imagery recalls the primitivism of the Demoiselles and the elusive psychological resonances of his Symbolist work», writes McQuillan.^[50] Surrealism revived Picasso’s attraction to primitivism and eroticism.^[50]

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  Pablo Picasso, 1918, Portrait d’Olga dans un fauteuil (Olga in an Armchair), Musée Picasso, Paris, France

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  Pablo Picasso, 1919, Sleeping Peasants, gouache, watercolor and pencil on paper, 31.1 × 48.9 cm, Museum of Modern Art

The Great Depression to MoMA exhibition: 1930–1939

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 Vollard Suite of etchings.^[51]

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.»^[52][53] Guernica was exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, and then became the centerpiece of an exhibition of 118 works by Picasso, Matisse, Braque and Henri Laurens that toured Scandinavia and England. After the victory of Francisco Franco in Spain, the painting was sent to the United States to raise funds and support for Spanish refugees. Until 1981 it was entrusted to the Museum of Modern Art (MoMA) in New York City, as it was Picasso’s expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country.

In 1939 and 1940, the Museum of Modern Art in New York City, under its director Alfred Barr, a Picasso enthusiast, held a major retrospective of Picasso’s principal works until that time. This exhibition lionized Picasso, brought into full public view in America the scope of his artistry, and resulted in a reinterpretation of his work by contemporary art historians and scholars.^[54] According to Jonathan Weinberg, «Given the extraordinary quality of the show and Picasso’s enormous prestige, generally heightened by the political impact of Guernica … the critics were surprisingly ambivalent».^[55] Picasso’s «multiplicity of styles» was disturbing to one journalist; another described him as «wayward and even malicious»; Alfred Frankenstein’s review in ARTnews concluded that Picasso was both charlatan and genius.^[55]

World War II and late 1940s: 1939–1949

During World War II, 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. He was often harassed by the Gestapo. During one search of his apartment, an officer saw a photograph of the painting Guernica. «Did you do that?» the German asked Picasso. «No,» he replied, «You did.»^[58]

Retreating to his studio, he continued to paint, producing works such as the Still Life with Guitar (1942) and The Charnel House (1944–48). Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.^[59]

Around this time, Picasso wrote poetry as an alternative outlet. Between 1935 and 1959 he wrote over 300 poems. Largely untitled 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 The Four Little Girls (1949).^[60]

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 Picasso, born in 1947 and Paloma Picasso, born in 1949. In her 1964 book Life with Picasso,^[61] 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. 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. Jacqueline Roque (1927–1986) worked at the Madoura Pottery in Vallauris on the French Riviera, 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 marry Picasso to secure the rights of her children as Picasso’s legitimate heirs. Picasso had already secretly married Roque, after Gilot had filed for divorce. His strained relationship with Claude and Paloma was never healed.^[62]

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 Provence-Alpes-Côte d’Azur. He was an international celebrity, with often as much interest in his personal life as his art.^[63]

Later works to final years: 1949–1973

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 Velázquez’s painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.

In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau’s Testament of Orpheus (1960). In 1955, he helped make the film Le Mystère Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot.

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 Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. Picasso said the figure represented the head of an Afghan Hound named Kabul.^[64] The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the 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 colourful and expressive, and from 1968 to 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.^[65][66] Only later, after Picasso’s death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see the late works of Picasso as prefiguring Neo-Expressionism.^[67]

Death

Pablo Picasso died on 8 April 1973 in Mougins, France, from pulmonary edema and a heart attack, the morning after he and his wife Jacqueline entertained friends for dinner. He was interred at the Château of Vauvenargues near Aix-en-Provence, a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1962. Jacqueline prevented his children Claude and Paloma from attending the funeral.^[68] Devastated and lonely after the death of Picasso, Jacqueline killed herself by gunshot in 1986 when she was 59 years old.^[69]

Political views

Picasso remained aloof from the Catalan independence movement during his youth despite expressing general support and being friendly with activists within it.^[70] He did not join the armed forces for any side or country during World War I, the Spanish Civil War, or World War II. As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either world war. In 1940, he applied for French citizenship, but it was refused on the grounds of his «extremist ideas evolving towards communism». This information was not revealed until 2003.^[71]

At the start of the Spanish Civil War in 1936, Picasso was 54 years of age. Soon after hostilities began, the Republicans appointed him «director of the Prado, albeit in absentia», and «he took his duties very seriously», according to John Richardson, supplying the funds to evacuate the museum’s collection to Geneva.^[72] The war provided the impetus for Picasso’s first overtly political work. He expressed anger and condemnation of Francisco Franco and fascists in The Dream and Lie of Franco (1937), which was produced «specifically for propagandistic and fundraising purposes».^[73] This surreal fusion of words and images was intended to be sold as a series of postcards to raise funds for the Spanish Republican cause.^[73][74]

In 1944, Picasso joined the French Communist Party. He attended the 1948 World Congress of Intellectuals in Defense of Peace in Poland, and in 1950 received the Stalin Peace Prize from the Soviet government.^[75] A portrait of Joseph Stalin made by Picasso in 1953 drew Party criticism due to being insufficiently realistic, though he remained a loyal member of the Communist Party until his death.^[72] His dealer, D-H. Kahnweiler, a socialist, termed Picasso’s communism «sentimental» rather than political, saying «He has never read a line of Karl Marx, nor of Engels of course.»^[72] 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.»^[76] His commitment to communism, common among continental intellectuals and artists at the time, has long been the subject of some controversy; a notable demonstration thereof was a quote by Salvador Dalí (with whom Picasso had a rather strained relationship^[77]):

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.)^[78][79][80]

In the late 1940s, his old friend the surrealist poet, Trotskyist,^[81] 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.»^[82]
As a communist, Picasso opposed the intervention of the United Nations and the United States in the Korean War, and depicted it in Massacre in Korea.^[83][84] The art critic Kirsten Hoving Keen wrote that it was «inspired by reports of American atrocities» and considered it one of Picasso’s communist works.^[85]

On 9 January 1949, Picasso created Dove, a black and white lithograph. It was used to illustrate a poster at the 1949 World Peace Council and became an iconographic image of the period, known as «The dove of peace». Picasso’s image was used around the world as a symbol of the Peace Congresses and communism.^[86]

In 1962, he received the Lenin Peace Prize.^[87] Biographer and art critic John Berger felt his talents as an artist were «wasted» by the communists.^[88] 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.»^[89]

Style and technique

Picasso was exceptionally prolific throughout his long lifetime. At his death there were more than 45,000 unsold works in his estate, comprising 1,885 paintings, 1,228 sculptures, 3,222 ceramics, 7,089 drawings, 150 sketchbooks, many thousands of prints, and numerous tapestries and rugs.^[90] The most complete – but not exhaustive – catalogue of his works, the catalogue raisonné compiled by Christian Zervos, lists more than 16,000 paintings and drawings.^[91] Picasso’s output was several times more prolific than most artists of his era; by at least one account, American artist Bob Ross is the only one to rival Picasso’s volume, and Ross’s artwork was designed specifically to be easily mass-produced quickly.^[92]

The medium in which Picasso made his most important contribution was painting.^[93] In his paintings, Picasso used colour as an expressive element, but relied on drawing rather than subtleties of colour to create form and space.^[93] He sometimes added sand to his paint to vary its texture. A nanoprobe of Picasso’s The Red Armchair (1931), in the collection of the Art Institute of Chicago, by physicists at Argonne National Laboratory in 2012 confirmed art historians’ belief that Picasso used common house paint in many of his paintings.^[94][95] Much of his painting was done at night by artificial light.

Picasso’s early sculptures were carved from wood or modelled in wax or clay, but from 1909 to 1928 Picasso abandoned modelling and instead made sculptural constructions using diverse materials.^[93] An example is Guitar (1912), a relief construction made of sheet metal and wire that Jane Fluegel terms a «three-dimensional planar counterpart of Cubist painting» that marks a «revolutionary departure from the traditional approaches, modeling and carving».^[96]

From the beginning of his career, Picasso displayed an interest in subject matter of every kind,^[97] and demonstrated a great stylistic versatility that enabled him to work in several styles at once. For example, his paintings of 1917 included the pointillist Woman with a Mantilla, the Cubist Figure in an Armchair, and the naturalistic Harlequin (all in the Museu Picasso, Barcelona). In 1919, he made a number of drawings from postcards and photographs that reflect his interest in the stylistic conventions and static character of posed photographs.^[98] In 1921 he simultaneously painted several large neoclassical paintings and two versions of the Cubist composition Three Musicians (Museum of Modern Art, New York; Philadelphia Museum of Art).^[49] In an interview published in 1923, Picasso said, «The several manners I have used in my art must not be considered as an evolution, or as steps towards an unknown ideal of painting … If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them.»^[49]

Although his Cubist works approach abstraction, Picasso never relinquished the objects of the real world as subject matter. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles.^[99] When Picasso depicted complex narrative scenes it was usually in prints, drawings, and small-scale works; Guernica (1937) is one of his few large narrative paintings.^[98]

Picasso painted mostly from imagination or memory. According to William Rubin, Picasso «could only make great art from subjects that truly involved him … Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own.»^[100] The art critic Arthur Danto said Picasso’s work constitutes a «vast pictorial autobiography» that provides some basis for the popular conception that «Picasso invented a new style each time he fell in love with a new woman».^[100] The autobiographical nature of Picasso’s art is reinforced by his habit of dating his works, often to the day. He explained: «I want to leave to posterity a documentation that will be as complete as possible. That’s why I put a date on everything I do.»^[100]

Artistic legacy

Picasso’s influence was and remains immense and widely acknowledged by his admirers and detractors alike. On the occasion of his 1939 retrospective at MoMA, Life magazine wrote: «During the 25 years he has dominated modern European art, his enemies say he has been a corrupting influence. With equal violence, his friends say he is the greatest artist alive.»^[101] Picasso was the first artist to receive a special honour exhibition at the Grand Gallery of the Louvre Museum in Paris in celebration of his 90 years.^[102] In 1998, Robert Hughes wrote of him: «To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace. … No painter or sculptor, not even Michelangelo, had been as famous as this in his own lifetime. … Though Marcel Duchamp, that cunning old fox of conceptual irony, has certainly had more influence on nominally vanguard art over the past 30 years than Picasso, the Spaniard was the last great beneficiary of the belief that the language of painting and sculpture really mattered to people other than their devotees.»^[103]

At the time of Picasso’s 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.

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 of the Museo del Prado. In 1992, the painting was put on display in the Reina Sofía Museum when it opened.

In 1985, a museum was established in Buitrago del Lozoya by Picasso’s friend Eugenio Arias Herranz.^[104]

It was announced on 22 September 2020 that the project for a new Picasso Museum due to open in Aix-en-Provence in 2021, in a former convent (Couvent des Prêcheurs), which would have held the largest collection of his paintings of any museum, had been scrapped due to the fact that Catherine Hutin-Blay, Jacqueline Picasso’s daughter, and the City Council had failed to reach an agreement.^[105]

In the 1996 movie Surviving Picasso, Picasso is portrayed by actor Anthony Hopkins.^[106] Picasso is also a character in Steve Martin’s 1993 play, Picasso at the Lapin Agile. In A Moveable Feast by Ernest Hemingway, Hemingway tells Gertrude Stein that he would like to have some Picassos, but cannot afford them. Later in the book, Hemingway mentions looking at one of Picasso’s paintings. He refers to it as Picasso’s nude of the girl with the basket of flowers, possibly related to Young Naked Girl with Flower Basket.
On 8 October 2010, 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, opened at the Seattle Art Museum, Seattle, Washington, US. The exhibition subsequently travelled to the Virginia Museum of Fine Arts, Richmond, Virginia: the M.H. de Young Memorial Museum, San Francisco, California, US.;^[107] the Art Gallery of New South Wales, Sydney, Australia;^[108] and the Art Gallery of Ontario, Toronto, Ontario, Canada.

As of 2015, Picasso remained the top-ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.^[109] More of his paintings have been stolen than any other artist’s;^[110] in 2012, the Art Loss Register had 1,147 of his works listed as stolen.^[111] The Picasso Administration functions as his official Estate. The US copyright representative for the Picasso Administration is the Artists Rights Society.^[112]

Picasso is played by Antonio Banderas in the 2018 season of Genius which focuses on his life and art.

The Basel vote

In the 1940s, a Swiss insurance company based in Basel had bought two paintings by Picasso to diversify its investments and serve as a guarantee for the insured risks. Following an air disaster in 1967, the company had to pay out heavy reimbursements. The company decided to part with the two paintings, which were deposited in the Kunstmuseum Basel. In 1968, a large number of Basel citizens called for a local referendum on the purchase of the Picassos by the Canton of Basel-Stadt, which was successful, making it the first time in democratic history that the population of a city voted on the purchase of works of art for a public art museum.^[113] The paintings therefore remained in the museum in Basel. Informed of this, Picasso donated three paintings and a sketch to the city and its museum and was later made an honorary citizen by the city.^[114]

Auction history

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.^[115] 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 a bust, was in the personal collection of Los Angeles philanthropist Frances Lasker Brody, who died in November 2009.^[116] On 11 May 2015 his painting Women of Algiers set the record for the highest price ever paid for a painting when it sold for US$179.3 million at Christie’s in New York.^[117]

On 21 June 2016, a painting by Pablo Picasso titled Femme Assise (1909) sold for £43.2 million ($63.4 million) at Sotheby’s London, exceeding the estimate by nearly $20 million, setting a world record for the highest price ever paid at auction for a Cubist work.^[118][119]

On 17 May 2017, The Jerusalem Post in an article titled «Picasso Work Stolen By Nazis Sells for $45 Million at Auction» reported the sale of a portrait painted by Picasso, the 1939 Femme assise, robe bleu, which was previously misappropriated during the early years of WWII. The painting has changed hands several times since its recovery, most recently through auction in May 2017 at Christie’s in New York City.^[120]

In March 2018, his Femme au Béret et à la Robe Quadrillée (1937), a portrait of Marie-Thérèse Walter, sold for £49.8m at Sotheby’s in London.^[121]

Personal life

Throughout his life Picasso maintained several mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women:

• Paulo (4 February 1921 – 5 June 1975, Paul Joseph Picasso) – with Olga Khokhlova
• Maya (5 September 1935 – 20 December 2022, Maria de la Concepcion Picasso) – with Marie-Thérèse Walter
• Claude (born 15 May 1947, Claude Pierre Pablo Picasso) – with Françoise Gilot
• Paloma (born 19 April 1949, Anne Paloma Picasso) – with Françoise Gilot

Photographer and painter Dora Maar 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.

The women in Picasso’s life played an important role in the emotional and erotic aspects of his creative expression, and the tumultuous nature of these relationships has been considered vital to his artistic process. Many of these women functioned as muses for him, and their inclusion in his extensive oeuvre granted them a place in art history.^[122] A largely recurring motif in his body of work is the female form. The variations in his relationships informed and collided with his progression of style throughout his career. For example, portraits created of his first wife, Olga, were rendered in a naturalistic style during his Neoclassical period. His relationship with Marie-Thérèse Walter inspired many of his surrealist pieces, as well as what is referred to as his «Year of Wonders».^[123] Reappearance of acrobats theme in 1905 put an end to his «Blue Period» and transitioned into his «Rose Period». This transition has been incorrectly attributed to the presence of Fernande Olivier in his life.^[124]: 75

Picasso has been commonly characterised as a womaniser and a misogynist, being quoted as having said to one of his mistresses, Françoise Gilot, «Women are machines for suffering.»^[125] He later told her, «For me there are only two kinds of women: goddesses and doormats.»^[126] In her memoir, Picasso, My Grandfather, Marina Picasso writes of his treatment of women, «He submitted them to his animal sexuality, tamed them, bewitched them, ingested them, and crushed them onto his canvas. After he had spent many nights extracting their essence, once they were bled dry, he would dispose of them.»^[127]

Of the several important women in his life, two, Marie-Thèrése Walter, a mistress, and Jacqueline Roque, his second wife, died by suicide. Others, notably his first wife Olga Khokhlova, and his mistress Dora Maar, succumbed to nervous breakdowns. His son, Paulo, developed a fatal alcoholism due to depression. His grandson, Pablito, also died by suicide that same year by ingesting bleach when he was barred by Jacqueline Roque from attending the artist’s funeral.^[125]

Catalogue raisonné

Picasso entrusted Christian Zervos to constitute the catalogue raisonné of his work (painted and drawn). The first volume of the catalogue, Works from 1895 to 1906, published in 1932, entailed the financial ruin of Zervos, self-publishing under the name Cahiers d’art, forcing him to sell part of his art collection at auction to avoid bankruptcy.^[128][129]

From 1932 to 1978, Zervos constituted the catalogue raisonné of the complete works of Picasso in the company of the artist who had become one of his friends in 1924. Following the death of Zervos, Mila Gagarin supervised the publication of 11 additional volumes from 1970 to 1978.^[130]

The 33 volumes cover the entire work from 1895 to 1972, with close to 16,000 black and white photographs, in accord with the will of the artist.^[131]

• 1932: tome I, Œuvres de 1895 à 1906. Introduction p. XI–[XXXXIX], 185 pages, 384 reproductions
• 1942: tome II, vol.1, Œuvres de 1906 à 1912. Introduction p. XI–[LV], 172 pages, 360 reproductions
• 1944: tome II, vol.2, Œuvres de 1912 à 1917. Introduction p. IX–[LXX–VIII], 233 p. pp. 173 to 406, 604 reproductions
• 1949: tome III, Œuvres de 1917 à 1919. Introduction p. IX–[XIII], 152 pages, 465 reproductions
• 1951: tome IV, Œuvres de 1920 à 1922. Introduction p. VII–[XIV], 192 pages, 455 reproductions
• 1952: tome V, Œuvres de 1923 à 1925. Introduction p. IX–[XIV], 188 pages, 466 reproductions
• 1954: tome VI, Supplément aux tomes I à V. Sans introduction, 176 pages, 1481 reproductions
• 1955: tome VII, Œuvres de 1926 à 1932. Introduction p. V–[VII], 184 pages, 424 reproductions

• 1978: Catalogue raisonné des œuvres de Pablo Picasso, Paris, Éditions Cahiers d’art^[132]

Further publications by Zervos

• Picasso. Œuvres de 1920 à 1926, Cahiers d’art, Paris
• Dessins de Picasso 1892–1948, Paris, Éditions Cahiers d’art, 1949
• Picasso. Dessins (1892–1948), Hazan, 199 reproductions, 1949

See also

• Picasso’s written works
• List of Picasso artworks 1889–1900
  • 1901–1910
  • 1911–1920
  • 1921–1930
  • 1931–1940
  • 1941–1950
  • 1951–1960
  • 1961–1970
  • 1971–1973
• Neoclassicism

Notes and references

Notes

References

Sources

• Becht-Jördens, Gereon; Wehmeier, Peter M. (2003). Picasso und die christliche Ikonographie: Mutterbeziehung und künstlerische Position. Berlin: Dietrich Reimer Verlag. ISBN 978-3-496-01272-6.
• Berger, John (1989). The Success and Failure of Picasso. Pantheon Books. ISBN 978-0-679-72272-4.
• Cirlot, Juan Eduardo (1972). Picasso, Birth of a Genius. New York and Washington: Praeger.
• Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism, 1910–1930. London: Tate Gallery. ISBN 978-1-85437-043-3.
• Daix, Pierre (1994). Picasso: Life and Art. Icon Editions. ISBN 978-0-06-430201-2.
• FitzGerald, Michael C. (1996). Making Modernism: Picasso and the Creation of the Market for Twentieth-century Art. Berkeley: University of California Press. ISBN 978-0-520-20653-3.
• Gether, Christian, ed. (2019). Beloved by Picasso: The Power of the Model. ARKEN Museum of Modern Art. 978-87-78751-34-8.
• Granell, Eugenio Fernández (1981). Picasso’s Guernica: The End of a Spanish Era. Ann Arbor, Mich.: UMI Research Press. ISBN 978-0-8357-1206-4.
• Jackson, Jeffrey B. (2016). «Chronology» in: The Picasso Project: Synthetic Cubism, 1912-1917. Alan Wofsy Fine Arts. ISBN 978-1-55660-332-7.
• Krauss, Rosalind E. (1999). The Picasso Papers. MIT Press. ISBN 978-0-262-61142-8.
• Mallén, Enrique (2003). The Visual Grammar of Pablo Picasso. New York: Peter Lang. ISBN 978-0-8204-5692-8.
• Mallén, Enrique (2005). La sintaxis de la carne: Pablo Picasso y Marie-Thérèse Walter. Santiago de Chile: Red Internacional del Libro. ISBN 978-956-284-455-0.
• Mallén, Enrique (2009). A Concordance of Pablo Picasso’s Spanish Writings. Lewiston, New York: Edwin Mellen Press. ISBN 978-0-7734-4713-4.
• Mallén, Enrique (2010). A Concordance of Pablo Picasso’s French Writings. Lewiston, New York: Edwin Mellen Press. ISBN 978-0-7734-1325-2. Retrieved 8 October 2010.
• Nill, Raymond M. (1987). A Visual Guide to Pablo Picasso’s Works. New York: B&H Publishers.
• Picasso, Olivier Widmaier (2004). Picasso: The Real Family Story. Prestel. ISBN 978-3-7913-3149-2.
• Rubin, William (1981). Pablo Picasso: A Retrospective. Little Brown & Co. ISBN 978-0-316-70703-9.
• Wattenmaker, Richard J. (1993). Great French Paintings from the Barnes Foundation: Impressionist, Post-impressionist, and Early Modern. New York: Alfred A. Knopf. ISBN 978-0-679-40963-2.
• Wertenbaker, Lael Tucker (1967). The World of Picasso (1881– ). Time-Life Books.

Further reading

• Alexandra Schwartz, «Painted Love: The artist Françoise Gilot was Picasso’s lover, helpmate, and muse. Then she wanted more», The New Yorker, 22 July 2019, pages 62–66. «[L]ives were trampled. Picasso died, at the age of ninety-one, in 1973. In 1977, Marie-Thérèse Walter hanged herself; eight years later, Jacqueline Roque, Gilot’s successor and Picasso’s second wife, shot herself in the head. Paulo, his son with Olga [Khokhlova], drank himself to death, in 1975, and Paulo’s son, Pablito, killed himself by swallowing bleach when he was barred from attending his grandfather’s funeral.» (p. 66.)

External links

• Works by or about Pablo Picasso at Internet Archive
• Works by or about Pablo Picasso in libraries (WorldCat catalog)
• Picasso discography at Discogs
• Picasso at IMDb
• Picasso in American public collections, on the French Sculpture Census website
• «On-line Picasso Project».
• Picasso at the Guggenheim Museum
• Picasso at the Los Angeles County Museum of Art (LACMA)
• Picasso at Metropolitan Museum of Art (New York City, New York)
• Picasso at the Museum of Modern Art (MoMA) (New York City, New York)
• Musée National Picasso Archived 11 December 2017 at the Wayback Machine (Paris, France)
• Museo Picasso Málaga (Málaga, Spain)
• Museu Picasso (Barcelona, Spain)
• Museo Picasso (Buitrago de Lozoya, Spain)
• Picasso at the National Gallery of Art (Washington, DC)
• Picasso, L’Esprit nouveau: revue internationale d’esthétique, 1920. Gallica, Bibliothèque nationale de France
• W.H. Crain Costume and Scene Design Collection at the Harry Ransom Center

Как поставить ударение в фамилии «Пикассо»?

Глядя на прекрасные полотна известного художника Пикассо, задумываешься: а правильно ли я ставлю ударение, когда произношу его фамилию? В слове «пикассо» ударение часто путают. Подумаем, как правильно сказать, в какую позицию слова поставить ударение, чтобы не обидеть поклонников художника и его творчества.

Пабло Пикассо не обиделся бы, если бы услышал, что его фамилия произносится с ударением на второй слог ПикАссо. Потому что это звучание соответствует месту, где родился художник. В Испании так и произносится эта фамилия.

Но он не оскорбился бы и услышав свою фамилию с ударением на последнем слоге ПикассО. Ведь так его фамилия звучит по-французски. Во Франции Пабло прожил довольно много лет.

Оба варианта ударения считаются правильными: ПикАссо и ПикассО.

Кто-то скажет, что мы живём не в Испании и не во Франции и должны говорить правильно, как принято в нашей стране. Но ведь фамилия-то не наша, а представителя другого государства. Поэтому будем следовать традициям той территории, где эта фамилия популярна.

Фамилия французского художника испанского происхождения может произноситься либо так, либо эдак. А иначе никак.

Как запомнить ударение в слове

Чтобы облегчить запоминание ударения в любом слове, я всегда сочиняю стишки. Рифма подсказывает, на каком слоге нужно ставить ударение.

Так как в «пикассо» два варианта ударения, то я придумала две рифмы, на каждый вариант.

А на сегодня всё и до новых интересных встреч на страницах моего сайта!

Запрос «Пикассо» перенаправляется сюда; см. также другие значения.

У этого человека испанская фамилия; здесь Руис — фамилия отца, Пикассо — фамилия матери.

Па́бло Руи́с-и-Пика́ссо^[4] (полное имя — Па́бло Дие́го Хосе́ Франси́ско де Па́ула Хуа́н Непомусе́но Мари́я де лос Реме́диос Сиприа́но де ла Санти́сима Тринида́д Ма́ртир Патри́сио Руи́с-и-Пика́ссо), в русском языке принят также вариант с ударением на французский манер Пикассо́^[5][6], исп. Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Mártir Patricio Ruiz y Picasso; 25 октября 1881, Малага, Андалусия, Испания — 8 апреля 1973, Mas Notre-Dame-de-Vie de Mougins^[d], Приморские Альпы, Франция) — испанский и французский^[4] художник, скульптор, график, театральный художник, керамист и дизайнер.

Основоположник кубизма (совместно с Жоржем Браком и Хуаном Грисом), в котором трёхмерное тело в оригинальной манере изображалось как ряд совмещённых воедино плоскостей. Пикассо много работал как график, скульптор, керамист и т. д. Вызвал к жизни массу подражателей и оказал исключительное влияние на развитие изобразительного искусства в XX веке. Согласно оценке Музея современного искусства (Нью-Йорк), Пикассо за свою жизнь создал около 20 тысяч работ^[7].

По экспертным оценкам, Пикассо — самый «дорогой» художник в мире: только за один 2008 год ценовой индекс его работ на рынке произведений искусства (годовой объём аукционных продаж) составил 262 млн долларов^[8][9]. Картина Пикассо «Алжирские женщины» (фр. Les Femmes d’Algers), проданная весной 2015 года в Нью-Йорке за 179 млн долларов, стала самой дорогой картиной, когда-либо проданной с аукциона на тот момент.

По результатам опроса 1,4 млн читателей, проведённого газетой The Times в 2009 году, Пикассо — лучший художник среди живших за последние 100 лет. Также его полотна занимают первое место по «популярности» среди похитителей^[10].

Биография

Детство и годы обучения

Согласно испанской традиции, Пикассо получил две фамилии по первым фамилиям родителей: отца — Руис и матери — Пикассо. Полное имя, которое будущий художник получил при крещении — Пабло Диего Хосе Франсиско де Паула Хуан Непомусено Мария де лос Ремедиос Сиприано^[11] (Криспиниано^[12]) де ла Сантисима Тринидад Мартир Патрисио Руис и Пикассо. Фамилия Пикассо по матери, под которой художник получил известность, имеет итальянское происхождение: прадед матери Пикассо Томмасо переехал в Испанию в начале XIX века из местечка Сори в провинции Генуя. В доме на малагской площади Мерсед, где родился Пикассо, ныне размещаются дом-музей художника и фонд, носящий его имя.

Пикассо начал рисовать с самого детства, первые уроки художественного мастерства он получил у своего отца — учителя рисования Хосе Руиса Бласко, и вскоре сильно в этом преуспел. В 8 лет он написал свою первую серьёзную картину маслом — «Пикадор», — с которой не расставался в течение всей жизни.

В 1891 году дон Хосе получил должность преподавателя рисования в Ла-Корунье, и юный Пабло вместе с семьёй переехал на север Испании, где обучался в местной школе искусств (1894—1895).

Впоследствии семья перебралась в Барселону, и в 1895 году Пикассо поступил в школу изящных искусств Ла-Лонха. Пабло исполнилось только четырнадцать, поэтому он был слишком молод для поступления в Ла-Лонху. Тем не менее по настоянию отца он был допущен к сдаче вступительных экзаменов на конкурсной основе. Пикассо с блеском сдал все экзамены и поступил в Ла-Лонху. Сначала он подписывался своим именем по отцу Ruiz Blasco, но затем выбрал фамилию матери — Picasso.

В начале октября 1897 года Пикассо уехал в Мадрид, где поступил в Королевскую академию изящных искусств Сан-Фернандо. Своё пребывание в Мадриде Пикассо использовал в основном для подробного изучения коллекции музея Прадо, а не для учёбы в академии с её классическими традициями, где Пикассо было тесно и скучно.

В Барселону Пикассо вернулся в июне 1898 года, там он вступил в художественное общество Els Quatre Gats, по названию богемного кафе с круглыми столами. В этом кафе в 1900 году прошли его две первые персональные выставки. В Барселоне он сблизился со своими будущими друзьями Карлосом Касагемасом и Хайме Сабартесом, которые впоследствии стали персонажами его полотен.

В детстве его мать, укладывая сына в кровать, обязательно рассказывала ему сказки, которые сама придумывала, используя эмоции от прошедшего дня. Потом Пабло говорил, что именно эти сказки и пробудили в нём желание творить, также используя эмоции одного дня.^{[источник не указан 3424 дня]}

«Голубой» и «розовый» периоды

В 1900 году Пикассо со своим другом, художником Касагемасом, уехал в Париж, где посетил Всемирную выставку. Именно там Пабло Пикассо познакомился с творчеством импрессионистов. Его жизнь в это время была сопряжена со многими трудностями, а самоубийство Карлоса Касагемаса 17 февраля 1901 года глубоко потрясло молодого Пикассо.

В этих обстоятельствах в начале 1902 года Пикассо стал писать в стиле, по которому впоследствии период творчества художника в Барселоне в 1903—1904 годах был назван «голубым». В работах этого времени ярко выражены темы старости и смерти, характерны образы нищеты, меланхолии и печали («Женщина с пучком волос», 1903; Пикассо считал: «кто грустен, тот искренен»); движения людей замедлены, они словно вслушиваются в себя («Ребёнок с голубем», 1901; «Любительница абсента», 1901; «Женщина с шиньоном», 1901; «Свидание», 1902; «Нищий старик с мальчиком», 1903; «Жизнь», 1903; «Трагедия», 1903). В палитре мастера преобладают оттенки синего цвета. Отображая человеческие страдания, Пикассо в этот период рисовал слепых, нищих, алкоголиков и проституток. Их бледные, отчасти удлинённые тела на картинах напоминают работы испанского художника Эль Греко.

Произведение переходного периода — от «голубого» к «розовому» — «Девочка на шаре» (1905, Музей изобразительных искусств, Москва).

В 1904 году Пикассо поселяется в Париже, где находит пристанище в знаменитом монмартрском общежитии для бедных художников Бато-Лавуар: начинается так называемый «розовый период», в котором печаль и нищета «голубого периода» сменилась образами из более живого мира театра и цирка. Художник отдавал предпочтение розово-золотистому и розово-серому тонам, а персонажами стали в основном бродячие артисты — клоуны, танцовщики и акробаты; картины этого периода проникнуты духом трагического одиночества обездоленных, романтической жизни странствующих комедиантов 1905 «Семья акробата с обезьяной»

Кубизм

От экспериментов с цветом и передачи настроения Пикассо обратился к анализу формы: сознательная деформация и деструкция натуры («Авиньонские девицы», 1907), односторонняя интерпретация системы Сезанна и увлечение африканской скульптурой приводят его к абсолютно новому жанру. Вместе с Жоржем Браком, которого встретил в 1907 году, Пикассо становится родоначальником кубизма — художественного направления, отвергавшего традиции натурализма и изобразительно-познавательную функцию искусства.

В мае 1907, когда Пикассо посетил парижский Этнографический музей, где его внимание привлекли маски народов Африки, Океании и Полинезии (обычно употребляемые в магических действиях колдунами), художник был поражён их необычностью. Магический взгляд на предмет отражает его суть, то, чем он отличается от других духовно, а не как выглядит внешне^[13]. Изображённый таким образом на картине человек превращается в идола, а лицом ему служит ритуальная маска. Так Пикассо получил новый, совершенно необычный в линиях и палитре, и тем привлекающий общее внимание, стиль кубизма^[13].

Сам он отразил инсайт такими словами^[14]:

Пикассо уделяет особое внимание превращению форм в геометрические блоки («Кирпичный завод в Тортосе», 1909), увеличивает и ломает объёмы («Портрет Фернанды Оливье», 1909), рассекает их на плоскости и грани, продолжающиеся в пространстве, которое сам он считает твёрдым телом, неизбежно ограниченным плоскостью картины («Портрет Даниэля Анри Канвейлера», 1910, «Аккордеонист», 1911). Перспектива исчезает, палитра тяготеет к монохромности, и хотя первоначальная цель кубизма состояла в том, чтобы более убедительно, чем с помощью традиционных приёмов, воспроизвести ощущение пространства и тяжести масс, картины Пикассо зачастую сводятся к непонятным ребусам. Чтобы вернуть связь с реальностью, Пикассо и Жорж Брак вводят в свои картины типографский шрифт, элементы «обманок» и грубые материалы: обои, куски газет, спичечные коробки. Начинают преобладать натюрморты, преимущественно с музыкальными инструментами, трубками и коробками из-под табака, нотами, бутылками с вином и т. п. — атрибутами, присущими образу жизни художественной богемы начала века. В композициях появляется «кубистическая тайнопись»: зашифрованные номера телефонов, домов, обрывки имён возлюбленных, названий улиц, кабачков. Техника коллажа соединяет грани кубистической призмы в большие плоскости («Гитара и скрипка», 1913) или передаёт в спокойной и юмористической манере открытия, сделанные в 1910—1913 («Портрет девушки», 1914). В «синтетический» период появляется также стремление к гармонизации колорита, уравновешенным композициями, которые временами вписываются в овал. Собственно кубистический период в творчестве Пикассо заканчивается вскоре после начала Первой мировой войны, разделившей его с Жоржем Браком. Хотя в своих значительных произведениях художник использует некоторые кубистические приёмы вплоть до 1921 («Три музыканта», 1921).

Русский балет

Для труппы Русский балет Дягилева Пикассо оформил 6 балетов^[15]:

• 1917 — «Парад» Леонида Мясина
• 1919 — «Треуголка» Леонида Мясина
• 1920 — «Пульчинелла» Леонида Мясина
• 1921 — «Квадро фламенко» М. Дальбасина, Р. де Херес
• 1924 — «Голубой экспресс» Брониславы Нижинской
• 1927 — «Меркурий» Леонида Мясина

В сентябре 1916 года художник-сценарист Жан Кокто и композитор Эрик Сати уговаривают Пикассо соучаствовать в постановке новаторского «сюрреалистического» балета «Парад» для Русского балета Сергея Дягилева. Пикассо не на шутку увлекается идеей этого балета, втягивается в работу, и в содружестве с Сати полностью переделывает и сценарий, и сценографию^[16]. Месяцем позднее он уезжает вместе со всей труппой Русских балетов на два месяца в Рим, где выполняет декорации, костюмы, знакомится с балетмейстером «Парада» Леонидом Мясиным и многими балетными артистами русской труппы. Вступительный манифест к спектаклю «Парад», «…более правдивому, чем сама правда», весной 1917 года написал Гийом Аполлинер, заранее объявив его провозвестником «Нового духа» в искусстве^[17]. Дягилев сознательно делал ставку на большую провокацию и готовил её всеми доступными средствами. Произошло именно так, как он намечал. Грандиозный скандал 18 мая 1917 года, состоявшийся на премьере (и единственном представлении) этого балета в театре Шатле, немало способствовал подъёму популярности Пикассо в широких кругах парижского бомонда. Публика в зале едва не сорвала спектакль криками «Русские боши, долой русских, Сати и Пикассо боши!»^[17] Дело дошло даже до потасовки. Печать неистовствовала, критики объявили «Русский балет» едва ли не предателями, деморализующими французское общество в тылу во время тяжёлой и неудачной войны^[17]. Вот только одна из показательных по своему тону рецензий, вышедших на следующий день после премьеры «Парада». Между прочим, автором этой статьи был вовсе не какой-то маргинальный критик, а вполне респектабельный Лео Польдес, владелец «Клуба дю Фобур»…

Антигармоничный, психованный композитор пишущих машинок и трещоток, Эрик Сати ради своего удовольствия вымазал грязью репутацию «Русского балета», устроив скандал, <…>в то время когда талантливые музыканты смиренно ждут, чтобы их сыграли… А геометрический мазила и пачкун Пикассо вылез на передний план сцены, в то время как талантливые художники смиренно ждут, пока их выставят^[17].

— Leo Poldes, «La Grimasse», 19 мая 1917

Дягилев остался чрезвычайно доволен произведённым эффектом. Сотрудничество Пикассо с Русским балетом Дягилева активно продолжилось и после «Парада» (декорации и костюмы для «Треуголки» Мануэля де Фальи, 1919). Новая форма деятельности, яркие сценические образы и крупные объекты воскрешают в нём интерес к декоративизму и театральности сюжетов.

Во время римской подготовки «Парада» Пикассо познакомился с балериной Ольгой Хохловой, которая стала его первой женой. 12 февраля 1918 года они заключают брак в русской церкви в Париже, свидетелями на их свадьбе были Жан Кокто, Макс Жакоб и Гийом Аполлинер. У них рождается сын Пауло (4 февраля 1921 года).

Эйфорическая и консервативная атмосфера послевоенного Парижа, женитьба Пикассо на Ольге Хохловой, успех художника в обществе — всё это отчасти объясняет возврат к фигуративности, временный и притом относительный, поскольку Пикассо продолжает писать в то время ярко выраженные кубистические натюрморты («Мандолина и гитара», 1924).

В 1924 году по предложению графа Этьена де Бомона для серии «Парижских вечеров» Пикассо оформил балет «Меркурий» на музыку Э. Сати в хореографии Л. Ф. Мясина.

Сюрреализм

В 1925 году начинается один из самых сложных и неровных периодов в творчестве Пикассо. После эпикурейского изящества 1920-х («Танец») Пикассо создаёт атмосферу конвульсий и истерии, ирреальный мир галлюцинаций, что можно объяснить отчасти влиянием поэтов-сюрреалистов, проявившимся в некоторых рисунках, стихотворениях, написанных в 1935, и театральной пьесе, созданной во время войны. На протяжении нескольких лет воображение Пикассо, казалось, могло создавать только монстров, неких разорванных на части существ («Сидящая купальщица», 1929), орущих («Женщина в кресле», 1929), раздутых до абсурда и бесформенных («Купальщица», рисунок, 1927) или воплощающих метаморфические и агрессивно-эротические образы («Фигуры на берегу моря», 1931). Несмотря на несколько более спокойных произведений, которые являются в живописном плане наиболее значительными, стилистически это был весьма переменчивый период («Девушка перед зеркалом», 1932). Женщины остаются главными жертвами его жестоких бессознательных причуд, возможно, потому что сам Пикассо плохо ладил со своей собственной женой или потому, что простая красота Марии-Терезы Вальтер, с которой он познакомился в марте 1932 года, вдохновляла его на откровенную чувственность («Зеркало», 1932). Она стала также моделью для нескольких безмятежных и величественных скульптурных бюстов, исполненных в 1932 году в замке Буажелу, который он приобрёл в 1930 году. В 1930—1934 годах именно в скульптуре выражается вся жизненная сила Пикассо: бюсты и женские ню, в которых иногда заметно влияние Матисса («Лежащая женщина», 1932), животные, маленькие фигуры в духе сюрреализма («Мужчина с букетом», 1935) и особенно металлические конструкции, имеющие полуабстрактные, полуреальные формы и исполненные порой из грубых материалов (он создаёт их с помощью своего друга, испанского скульптора Хулио Гонсалеса — «Конструкция», 1931). Наряду с этими странными и острыми формами, гравюры Пикассо к «Метаморфозам» Овидия (1930) свидетельствуют о постоянстве его классического вдохновения.

«Герника» и пацифизм

В 1937 году симпатии Пикассо — на стороне республиканцев, борющихся в Испании (серия акватинт «Мечты и ложь генерала Фрáнко», отпечатанная в виде открыток, разбрасывалась с самолётов над позициями франкистов). В апреле 1937 года немецкая и итальянская авиация бомбила и разрушила небольшой городок басков Герника — культурный и политический центр жизни этого свободолюбивого народа. За два месяца Пикассо создаёт свою «Гернику» — громадное полотно, которое было выставлено в республиканском павильоне Испании на Всемирной выставке в Париже. Светлые и тёмные монохромные краски словно передают ощущение от всполохов пожара. В центре композиции, наподобие фриза, в комбинаторике кубистическо-сюрреалистических элементов показаны павший воин, подбегающая к нему женщина и раненая лошадь. Основной теме сопутствуют изображения плачущей женщины с мёртвым ребёнком и быком за её спиной и женской фигуры в пламени с воздетыми вверх руками. В темноту маленькой площади, над которой висит фонарь, протягивается длинная рука со светильником как символом надежды.

Ужас, охвативший Пикассо перед угрозой варварства, нависшего над Европой, его страх перед войной и фашизмом, художник не выразил прямо, но придал своим картинам тревожную тональность и мрачность («Рыбная ловля ночью на Антибах», 1939), сарказм, горечь, которые не коснулись только лишь детских портретов («Майя и её кукла», 1938). И вновь женщины стали главными жертвами этого общего мрачного настроения. Среди них — Дора Маар, с которой художник сблизился в 1936 году и красивое лицо которой он деформировал и искажал гримасами («Плачущая женщина», 1937). Никогда ещё женоненавистничество художника не выражалось с такой ожесточённостью; увенчанные нелепыми шляпами, лица, изображённые в фас и в профиль, дикие, раздробленные, рассечённые потом тела, раздутые до чудовищных размеров, а их части соединены в бурлескные формы («Утренняя серенада», 1942). Немецкая оккупация не могла испугать Пикассо: он оставался в Париже с 1940 по 1944 год. Она также не ослабила его деятельности: портреты, скульптуры («Человек с агнцем»), скудные натюрморты, которые порой с глубоким трагизмом выражают всю безысходность эпохи («Натюрморт с бычьим черепом», 1942).

В 1944 году Пикассо вступает в Коммунистическую партию Франции. Гуманистические воззрения Пикассо проявляются в его работах. В 1950 году он рисует знаменитого «Голубя мира».

После войны

Послевоенное творчество Пикассо можно назвать счастливым; он сближается с Франсуазой Жило, с которой познакомился в 1945 году и которая родит ему двоих детей, дав таким образом темы его многочисленных очаровательных семейных картин. Он уезжает из Парижа на юг Франции, открывает для себя радость солнца, пляжа, моря. Произведения, созданные в 1945—1955 годах, очень средиземноморские по духу, характерны своей атмосферой языческой идиллии и возвращением античных настроений, которые находят своё выражение в картинах и рисунках, созданных в конце 1946 года в залах музея Антиб, ставшего впоследствии музеем Пикассо («Радость жизни»).

В послевоенные годы было выпущено рекордное количество литографий работ художника. Чтобы повысить коллекционную значимость копий своих работ, тиражные литографии, после их выпуска, собственноручно подписывались Пикассо. Подписи на копиях своих работ, автор ставил преимущественно, простым карандашом. Нередко можно встретить тиражные копии работ Пикассо, которые помимо собственноручной подписи автора, имеют ещё и штамп Парижской галереи.

Осенью 1947 года Пикассо начинает работать на фабрике «Мадура» в Валлорисе; увлечённый проблемами ремесла и ручного труда, он сам выполняет множество блюд, декоративных тарелок, антропоморфных кувшинов и статуэток в виде животных («Кентавр», 1958), иногда несколько архаичных по манере, но всегда полных очарования и остроумия. Особенно важны в тот период скульптуры («Беременная женщина», 1950). Некоторые из них («Коза», 1950; «Обезьяна с малышом», 1952) сделаны из случайных материалов (брюхо козы выполнено из старой корзины) и относятся к шедеврам техники ассамбляжа. В 1953 году Франсуаза Жило и Пикассо расходятся^[18]. Это было для художника началом тяжёлого морального кризиса, который эхом отдаётся в замечательной серии рисунков, исполненных между концом 1953 и концом зимы 1954 года; в них Пикассо по-своему, в озадачивающей и ироничной манере, выразил горечь старости и свой скептицизм по отношению к самой живописи. В Валлорисе художник начал в 1954 году серию портретных изображений «Сильветт»^[19][20]. В этом же году Пикассо встречается с Жаклин Рок, которая в 1958 году станет его женой и вдохновит на серию статуарных портретов. В 1956 году на французские экраны вышла документальная лента о художнике «Таинство Пикассо».

Произведения последних пятнадцати лет творчества художника очень разнообразны и неравны по качеству («Мастерская в Каннах», 1956). Можно, однако, выделить испанский источник вдохновения («Портрет художника, в подражание Эль Греко», 1950) и элементы тавромахии (Пикассо был страстным поклонником популярной на юге Франции корриды), выраженные в рисунках и акварелях в духе Гойи (1959—1968). Чувством неудовлетворения собственным творчеством отмечена серия интерпретаций и вариаций на темы знаменитых картин «Девушки на берегу Сены. По Курбе» (1950); «Алжирские женщины. По Делакруа» (1955); «Менины. По Веласкесу» (1957); «Завтрак на траве. По Мане» (1960).

Пикассо умер 8 апреля 1973 года в Мужене (Франция) на своей вилле Нотр-Дам-де-Ви. Похоронен возле принадлежавшего ему замка Вовенарг^[fr].

Картины в дар

В сентябре 2021 года стало известно, что дочь художника Майя Пикассо передаст властям Франции девять произведений отца для урегулирования налоговых вопросов. В парижский музей Пикассо уже передана картина «Ребенок с леденцом на стуле» (1938)^[21].

Личная жизнь

Пабло Пикассо был женат дважды:

• с 1917 по 1955 год был женат на Ольге Хохловой (1891—1955), носившей до смерти имя Ольга Пикассо. С 1935 года супруги жили раздельно^[22]
  • сын Пауло (Поль) (фр.) (1921—1975) — шофёр Пикассо
    • внук Паблито (1949—1973)^[23]
    • внучка Марина (1950)^[23][24]
    • внук Бернар Руис-Пикассо (1959)
• с 1961 до своей смерти в 1973 году был женат на Жаклин Рок (1927—1986) — жил с ней с 1953 года
  • приёмная дочь Катрин Ютен-Бле (род. 1952) — наследница Пикассо

Кроме того, он имел троих внебрачных детей:

• от Марии-Терезы Вальтер (1909—1977) — отношения в 1927—1940 годах
  • дочь Майя (фр.) (1935—2022)
• от Франсуазы Жило (род. 1921) — отношения в 1943—1953 годах
  • сын Клод (фр.) (род. 1947) — французский бизнесмен, режиссёр и фотограф
  • дочь Палома (род. 1949) — французский дизайнер

Награды

• Лауреат Международной Ленинской премии «За укрепление мира между народами» (1962).

Образ в культуре

В филателии

• Почтовые марки СССР

• 

• 

В кинематографе

Год	Страна	Название	Режиссёр	В роли Пикассо	Примечание
1955	Франция	Таинство Пикассо	Анри-Жорж Клузо	Камео	Документальный фильм
1960	Франция	Завещание Орфея	Жан Кокто	Камео
1978	Швеция	Приключения Пикассо	Таге Даниэльссон	Йёста Экман	Сюрреалистическая сага о жизни Пикассо
1996	США	Прожить жизнь с Пикассо	Джеймс Айвори	Энтони Хопкинс	Художественный фильм по мотивам книги Арианны Стассинопулос Хаффингтон «Пикассо: создатель и разрушитель»
2004	США  Великобритания  Германия  Румыния  Франция  Италия	Модильяни	Мик Дэвис	Омид Джалили	Художественный фильм
2010	Франция	Плачущая женщина в красной шляпе[fr]	Жан-Даниель Вераэг[fr]	Тьерри Фремон	Телевизионный фильм
2011	США  Испания	Полночь в Париже	Вуди Аллен	Марсьяль Ди Фонсо Бо	Художественный фильм
2012	Россия	Глаз Божий	Иван Скворцов и Сергей Нурмамед	Пётр Налич и Владимир Познер	Телевизионный проект Леонида Парфёнова
2018	США	Гений	несколько	Антонио Бандерас и Алекс Рич	Сезон телесериала-антологии канала National Geographic

В музыке

Песня Пола Маккартни «Picasso’s Last Words (Drink to Me)» из альбома «Band on the Run».

Память

• Именем Пикассо названо несколько моделей автомобилей компании Citroën.

Отношение к творчеству

В СССР творчество Пикассо воспринималось неоднозначно. По мнению известного искусствоведа И. Н. Голомштока»^[25]:

Для художников-соцреалистов — академиков, членов правления МОССХа — Пикассо был, пожалуй, главным врагом. С одной стороны — коммунист, прогрессивный деятель, борец за мир, и трогать его было опасно; с другой… Дело не в том, что, с их точки зрения, он был «буржуазный формалист», с этим ещё можно было примириться, главное — он был великий мастер, и при сопоставлении с его работами все великие достижения советского искусства меркли и отбрасывались на столетие назад. Для тренированного глаза это было видно с первого взгляда, для нетренированного — со второго. Примириться с этим было невозможно, и борьба с Пикассо шла по разным направлениям.

Музеи Пикассо

Музей Пикассо в Барселоне. В 1960 году близкий друг и помощник Пикассо Хайме Сабартес и Гуаль решил пожертвовать свою коллекцию работ Пикассо для организации музея. 9 мая 1963 года в готическом дворце Беренгер де Агилар открылся музей под названием «Коллекция Сабартеса». В 1970 году, после смерти Сабартеса, Пикассо в знак своей любви к городу отдал в музей около 2450 работ (полотен, гравюр и рисунков) и 141 работу из керамики. В настоящее время постоянную коллекцию музея составляют более 3500 работ Пикассо, а музей занимает пять особняков на улице Монткада-Мека, Беренгер-д’Агилар, Маури, Финестрес и Баро-де-Кастельет.

В 1985 году музей Пикассо был открыт в Париже, в отеле Сале. Сюда вошли работы, переданные наследниками художника, — более 200 картин, 158 скульптур, коллажи и тысячи рисунков, эстампов и документов, а также личная коллекция Пикассо. Новые дары наследников (1990) обогатили парижский музей Пикассо, Городской музей современного искусства в Париже и несколько провинциальных музеев (картины, рисунки, скульптуры, керамика, гравюры и литографии).

В 2003 году Музей Пикассо был открыт в его родном городе Малаге.

Стоимость работ

По экспертным оценкам, Пикассо — самый «дорогой» художник в мире: в 2008 году объём только официальных продаж его работ составил 262 млн долларов^[9]. 4 мая 2010 года картина Пикассо «Обнажённая, зелёные листья и бюст», проданная на аукционе «Кристис» за 106 482 000 долларов, стала самым дорогим произведением искусства в мире на тот момент^[26].

11 мая 2015 года на аукционе «Кристис» был установлен новый абсолютный рекорд для произведений искусства, продаваемых с открытых торгов — картина Пабло Пикассо «Алжирские женщины (версия О)» ушла за рекордные 179 365 000 долларов^[27].

В 2006 году владелец казино Стив Винн, купивший в 1990-х годах за 48,4 миллиона долларов картину Пикассо «Сон», согласился продать этот шедевр кубизма за 139 миллионов американскому коллекционеру Стивену Коэну. Сделка не состоялась, так как Винн, страдающий заболеванием глаз и плохо видящий, неловко повернулся и проткнул холст локтем. Он сам назвал случившееся «самым неуклюжим и глупым жестом в мире». После реставрации картина была выставлена на аукцион «Кристис», где 27 марта 2013 года её всё же приобрёл Коэн уже за 155 миллионов долларов. Согласно сообщению агентства Bloomberg, на тот момент это была максимальная сумма, выплаченная за произведение искусства американским коллекционером.

14 мая 2021 года в Нью-Йорке на аукционе «Кристис» продали картину Пикассо «Женщина, сидящая у окна» («Мария-Тереза») более чем за 103 миллиона долларов^[28]. При этом перед началом торгов эксперты оценили полотно в 55 миллионов долларов.

Периодизация

Перечень картин, написанных Пикассо, соответственно периодам его творчества.

Примечания

Литература

Ссылки

• Мириманов В. Б. Пикассо, Пабло // Энциклопедия «Кругосвет».
• Пабло Пикассо в каталоге ссылок Curlie (dmoz) (англ.)
• picasso.fr — официальный сайт Picasso Adminstration (фр.)
• fundacionpicasso.malaga.eu — официальный сайт Picasso Foundation (исп.)
• Произведения Пабло Пикассо // Государственный Эрмитаж
• Произведения Пабло Пикассо Галерея искусства стран Европы и Америки XIX—XX веков, отдел Государственного музея изобразительных искусств имени А. С. Пушкина

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