Picasso. Pablo
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Pablo Picasso | |
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 Picasso in 1962 | |
| 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, Spain |
| Died | 8 April 1973 (aged 91) Mougins, France |
| Resting place | Château of Vauvenargues 43.554142°N 5.604438°E |
| Education | |
| Years active | 1897–1973 |
| Known for | Painting, drawing, sculpture, printmaking, ceramics, stage design, writing |
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| Movement | Cubism, Surrealism |
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"Everything is a miracle. It is a miracle that one does not dissolve in one's bath like a lump of sugar." (12/29/2024)
Pablo Picasso (born October 25, 1881, Málaga, Spain—died April 8, 1973, Mougins, France) was a Spanish expatriate painter, sculptor, printmaker, ceramicist, and stage designer. He was one of the greatest and most-influential artists of the 20th century and the creator (with Georges Braque) of Cubism. (For more information on Picasso’s name see Researcher’s Note: Picasso’s full name.)
The enormous body of Picasso’s work remains, and the legend lives on—a tribute to the vitality of the “disquieting” Spaniard with the “sombre…piercing” eyes who superstitiously believed that work would keep him alive. For nearly 80 of his 91 years, Picasso devoted himself to an artistic production that contributed significantly to and paralleled the whole development of modern art in the 20th century.
Life and career
Early years
Pablo Picasso was the son of José Ruiz Blasco, a professor of drawing, and Maria Picasso López. His unusual adeptness for drawing began to manifest itself early, around the age of 10, when he became his father’s pupil in A Coruña, where the family moved in 1891. From that point his ability to experiment with what he learned and to develop new expressive means quickly allowed him to surpass his father’s abilities. In A Coruña his father shifted his own ambitions to those of his son, providing him with models and support for his first exhibition there at age 13.
The family moved to Barcelona in the autumn of 1895, and Pablo entered the local art academy (La Llotja), where his father had assumed his last post as professor of drawing. The family hoped that their son would achieve success as an academic painter, and in 1897 his eventual fame in Spain seemed assured; in that year his painting Science and Charity, for which his father modeled for the doctor, was awarded an honourable mention in Madrid at the Fine Arts Exhibition.
The Spanish capital was the obvious next stop for the young artist intent on gaining recognition and fulfilling family expectations. Pablo Ruiz duly set off for Madrid in the autumn of 1897 and entered the Royal Academy of San Fernando. But finding the teaching there stupid, he increasingly spent his time recording life around him, in the cafés, on the streets, in the brothels, and in the Prado, where he discovered Spanish painting. He wrote: “The Museum of paintings is beautiful. Velázquez first class; from El Greco some magnificent heads, Murillo does not convince me in every one of his pictures.” Works by those and other artists would capture Picasso’s imagination at different times during his long career. Goya, for instance, was an artist whose works Picasso copied in the Prado in 1898 (a portrait of the bullfighter Pepe Illo and the drawing for one of the Caprichos, Bien tirada está, which shows a Celestina [procuress] checking a young maja’s stockings). Those same characters reappear in his late work—Pepe Illo in a series of engravings (1957) and Celestina as a kind of voyeuristic self-portrait, especially in the series of etchings and engravings known as Suite 347 (1968).
Picasso fell ill in the spring of 1898 and spent most of the remaining year convalescing in the Catalan village of Horta de Ebro in the company of his Barcelona friend Manuel Pallarès. When Picasso returned to Barcelona in early 1899, he was a changed man: he had put on weight; he had learned to live on his own in the open countryside; he spoke Catalan; and, most important, he had made the decision to break with his art-school training and to reject his family’s plans for his future. He even began to show a decided preference for his mother’s surname, and more often than not he signed his works P.R. Picasso; by late 1901 he had dropped the Ruiz altogether.
In Barcelona Picasso moved among a circle of Catalan artists and writers whose eyes were turned toward Paris. Those were his friends at the café Els Quatre Gats (“The Four Cats,” styled after the Chat Noir [“Black Cat”] in Paris), where Picasso had his first Barcelona exhibition in February 1900, and they were the subjects of more than 50 portraits (in mixed media) in the show. In addition, there was a dark, moody “modernista” painting, Last Moments (later painted over), showing the visit of a priest to the bedside of a dying woman, a work that was accepted for the Spanish section of the Exposition Universelle in Paris in that year. Eager to see his own work in place and to experience Paris firsthand, Picasso set off in the company of his studio mate Carles Casagemas (Portrait of Carles Casagemas [1899]) to conquer, if not Paris, at least a corner of Montmartre.
Discovery of Paris
One of Picasso’s principal artistic discoveries on that trip (October–December) was colour—not the drab colours of the Spanish palette, the black of the shawls of Spanish women, or the ochres and browns of the Spanish landscape but brilliant colour—the colour of Vincent van Gogh, of new fashion, of a city celebrating a world’s fair. Using charcoal, pastels, watercolours, and oils, Picasso recorded life in the French capital (Lovers in the Street [1900]). In Moulin de la Galette (1900) he paid tribute to French artists such as Henri de Toulouse-Lautrec and the Swiss Théophile Alexandre Steinlen as well as his Catalan compatriot Ramon Casas.
After just two months Picasso returned to Spain with Casagemas, who had become despondent about a failed love affair. Having tried unsuccessfully to amuse his friend in Málaga, Picasso took off for Madrid, where he worked as an art editor for a new journal, Arte Joven. Casagemas returned to Paris, attempted to shoot the woman he loved, and then turned the gun on himself and died. The impact on Picasso was deep: it was not just that he had lost his loyal friend and perhaps felt a sense of guilt for having abandoned him; more important, he had gained the emotional experience and the material that would stimulate the powerful expressiveness of the works of the so-called Blue Period. Picasso made two death portraits of Casagemas several months later in 1901 as well as two funeral scenes (Mourners and Evocation), and in 1903 Casagemas appeared as the artist in the enigmatic painting La Vie.
Blue Period of Pablo Picasso
Between 1901 and mid-1904, when blue was the predominant colour in his paintings, Picasso moved back and forth between Barcelona and Paris, taking material for his work from one place to the other. For example, his visits to the Women’s Prison of Saint-Lazare in Paris in 1901–02, which provided him with free models and compelling subject matter (The Soup [1902]), were reflected in his depictions of Barcelona street people—blind or lonely beggars and castaways in 1902–03 (Crouching Woman [1902]; Blind Man’s Meal [1903]; Old Jew and a Boy [1903]). The subject of maternity (women were allowed to keep nursing children with them at the prison) also preoccupied Picasso at a time when he was searching for material that would best express traditional art-historical subjects in 20th-century terms.
The move to Paris and the Rose Period
Picasso finally made the decision to move permanently to Paris in the spring of 1904, and his work reflects a change of spirit and especially a response to different intellectual and artistic currents. The traveling circus and saltimbanques became a subject he shared with a new and important friend, Guillaume Apollinaire. To both the poet and the painter those rootless wandering performers (Girl Balancing on a Ball [1905]; The Actor [1905]) became a kind of evocation of the artist’s position in modern society. Picasso specifically made that identification in Family of Saltimbanques (1905), where he assumes the role of Harlequin and Apollinaire is the strongman (according to their mutual friend, the writer André Salmon).
Picasso’s personal circumstances also changed when at the end of 1904 Fernande Olivier became his mistress. Her presence inspired many works during the years leading up to Cubism, especially on their trip to Gosol in 1906 (Woman with Loaves).
Colour never came easily to Picasso, and he reverted to a generally more-Spanish (i.e., monochromatic) palette. The tones of the Blue Period were replaced from late 1904 to 1906 in the so-called Rose Period by those of pottery, of flesh, and of the earth itself (The Harem [1906]). Picasso seems to have been working with colour in an attempt to come closer to sculptural form, especially in 1906 (Two Nudes; La Toilette). His Portrait of Gertrude Stein (1906) and a Self-Portrait with Palette (1906) show that development as well as the influence of his discovery of archaic Iberian sculpture.
Les Demoiselles d’Avignon
Toward the end of 1906 Picasso began work on a large composition that came to be called Les Demoiselles d’Avignon (1907). His violent treatment of the female body and masklike painting of the faces (influenced by a study of African art) have made that work controversial. Yet the work was firmly based upon art-historical tradition: a renewed interest in El Greco contributed to the fracturing of the space and the gestures of the figures, and the overall composition owed much to Paul Cézanne’s Bathers as well as to J.-A.-D. Ingres’s harem scenes. The Demoiselles, however—later named to refer to Avignon Street in Barcelona, where sailors found popular brothels—was perceived as a shocking and direct assault: the women were not conventional images of beauty but prostitutes who challenged the very tradition from which they were born. Although he had his collectors by that date (Americans Leo and Gertrude Stein and the Russian merchant Sergey Shchukin) and soon a dealer (Daniel-Henry Kahnweiler), Picasso chose to roll up the canvas of the Demoiselles and to keep it out of sight for several years.
In 1908 the African-influenced striations and masklike heads were superseded by a technique that incorporated elements he and his new friend Georges Braque found in the work of Cézanne, whose shallow space and characteristic planar brushwork are especially evident in Picasso’s work of 1909. Still lifes, inspired by Cézanne, also became an important subject for the first time in Picasso’s career. Cubist heads of Fernande include the sculpture Head of a Woman (1909) and several paintings related to it, including Woman with Pears (1909).
Cubism of Pablo Picasso
Picasso and Braque worked together closely during the next few years (1909–12)—the only time Picasso ever worked with another painter in this way—and they developed what came to be known as Analytical Cubism. Early Cubist paintings were often misunderstood by critics and viewers because they were thought to be merely geometric art. Yet the painters themselves believed they were presenting a new kind of reality that broke away from Renaissance tradition, especially from the use of perspective and illusion. For example, they showed multiple views of an object on the same canvas to convey more information than could be contained in a single limited illusionistic view.
As Kahnweiler saw it, Cubism signified the opening up of closed form by the “re-presentation” of the form of objects and their position in space instead of their imitation through illusionistic means; and the analytic process of fracturing objects and space, light and shadow, and even colour was likened by Apollinaire to the way in which the surgeon dissects a cadaver. That type of analysis is characteristic of Picasso’s work beginning in 1909, especially in the landscapes he made on a trip to Spain that summer (Factory at Horta de Ebro). Those were followed in 1910 with a series of hermetic portraits (Ambroise Vollard; Daniel-Henry Kahnweiler); and in his 1911–12 paintings of seated figures, often playing musical instruments (The Accordionist [1911]), Picasso merged figures, objects, and space on a kind of grid. The palette was once again limited to monochromatic ochres, browns, and grays.
Neither Braque nor Picasso desired to move into the realm of total abstraction in their Cubist works, although they implicitly accepted inconsistencies such as different points of view, different axes, and different light sources in the same picture. Furthermore, the inclusion of abstract and representational elements on the same picture plane led both artists to reexamine what two-dimensional elements, such as newspaper lettering, signified. A song title, “Ma Jolie,” for instance, could point to events outside the painting; it could refer narratively to Picasso’s new mistress, Eva (Marcelle Humbert). But it could also point to compositional elements within the painting, to the function of flat pictorial elements that play off other flat planes or curvilinear motifs. The inclusion of lettering also produced the powerful suggestion that Cubist pictures could be read coming forward from the picture plane rather than receding (in traditional perspective) into it. And the Cubists’ manipulation of the picture shape—their use of the oval, for example—redefined the edge of the work in a way that underlined the fact that in a Cubist picture the canvas provides the real space.
Collage
By 1912 Picasso and Braque were gluing real paper (papier collé) and other materials (collage) onto their canvases, taking a stage further the Cubist conception of a work as a self-contained constructed object. That Synthetic phase (1912–14) saw the reintroduction of colour, while the actual materials often had an industrial reference (e.g., sand or printed wallpaper). Still lifes and, occasionally, heads were the principal subjects for both artists. And in Picasso’s works the multiple references inherent in his Synthetic compositions—curves that refer to guitars and at the same time to ears, for instance—introduce an element of play that is characteristic of so much of his work (Student with a Pipe [1913]) and lead to the suggestion that one thing becomes transformed into another. Absinthe Glass (1914; six versions), for example, is in part sculpture (cast bronze), in part collage (a real silver sugar strainer is welded onto the top), and in part painting (Neo-Impressionist brush strokes cover planes of white paint). But the work is neither sculpture nor collage nor painting; planes refer to two-dimensionality, while the object indeed possesses three dimensions. The work of art thus hovers between reality and illusion.
By 1915 Picasso’s life had changed and so, in a sense, had the direction of his art. At the end of that year his beloved Eva died, and the painting he had worked on during her illness (Harlequin [1915]) gives testimony to his grief—a half-Harlequin, half-Pierrot artist before an easel holds an unfinished canvas against a black background.
Parade
World War I dispersed Picasso’s circle; Apollinaire, Braque, and others left for the front, while most of Picasso’s Spanish compatriots returned to their neutral homeland. Picasso stayed in France, and from 1916 his friendship with the composer Erik Satie took him into a new avant-garde circle that remained active during the war. The self-appointed leader of that nucleus of talents who frequented the Café de la Rotonde was the young poet Jean Cocteau. His idea to stage a wartime theatrical event in collaboration with Serge Diaghilev’s Ballets Russes resulted in the production of Parade, a work about a circus sideshow that incorporated imagery of the new century, such as skyscrapers and airplanes. Cocteau went to Satie for the music and then to Picasso for the sets and costumes. Work began in 1917, and although Picasso disliked travel, he agreed to go with Cocteau to Rome, where they joined Diaghilev and the choreographer of Parade, Léonide Massine. It was on that occasion that Picasso met his future wife, Olga Khokhlova, among the dancers.
Parade was first performed in May 1917 at the Théâtre du Châtelet in Paris, where it was considered no less than an attempt to undermine the solidarity of French culture. Satie seems to have been the principal target of abuse (partly because of his inclusion of airplane propellers and typewriters in the score), while Picasso disarmed the public with the contrast between his basically realistic stage curtain and the startling Synthetic Cubist constructions worn by the characters, the sideshow managers, in the ballet.
New Mediterraneanism
Picasso’s paintings and drawings of the late teens often seem unexpectedly naturalistic in contrast to the Cubist works that preceded or sometimes coincided with them (Passeig de Colom [1917]). After his travels to Italy and a return to Barcelona in 1917 (Parade was performed there in November), a new spirit of Mediterraneanism made itself felt in his work, especially in the use of classical forms and drawing techniques. That was reinforced by a conscious looking back to J.-A.-D. Ingres (for example, in Picasso’s portrait drawings of Max Jacob and Ambroise Vollard [1915]) and to late Pierre-Auguste Renoir. Even the direction of Picasso’s Cubist work was affected. By clarifying planes, forms, and colour, the artist imparted to his Cubist paintings a classical expression (Saint-Raphaël still lifes [1919]; two versions of the Three Musicians [1921]).
Paulo, Picasso’s only child by Olga, was born in 1921. As part of Picasso’s new status as darling of the socialites (encouraged particularly by his wife and Cocteau), Picasso continued his collaborations with the Ballets Russes and produced designs for Manuel de Falla’s The Three-Cornered Hat (1919), Igor Stravinsky’s Pulcinella (1920), de Falla’s Cuadro Flamenco (1921), and, with the Soirées de Paris company, Satie’s ballet Mercure (1924). André Breton called Picasso’s designs for that ballet “tragic toys for adults” created in the spirit of Surrealism.
Surrealism
Although Picasso never became an official member of the group, he had intimate connections with the most-important literary and art movement between the two World Wars, Surrealism. The Surrealist establishment, including its main propagandist, André Breton, claimed him as one of their own, and Picasso’s art gained a new dimension from contact with his Surrealist friends, particularly the writers. Inherent in Picasso’s work since the Demoiselles were many elements that the official circle advocated. The creation of monsters, for instance, could certainly be perceived in the disturbing juxtapositions and broken contours of the human figure in Cubist works; Breton specifically pointed to the strange Woman in a Chemise (1913). Moreover, the idea of reading one thing for another, an idea implicit in Synthetic Cubism, seemed to coincide with the dreamlike imagery the Surrealists championed.
What the Surrealist movement gave to Picasso were new subjects—especially erotic ones—as well as a reinforcement of disturbing elements already found in his work. The many variations on the subject of bathers with their overtly sexual and contorted forms (Dinard series [1929]) show clearly the impact of Surrealism, and in other works the effect of distortion on the emotions of the spectator can also be interpreted as fulfilling one of the psychological aims of Surrealism (drawings and paintings of the Crucifixion [1930–35]). In the 1930s Picasso, like many of the Surrealist writers, often played with the idea of metamorphosis. For example, the image of the minotaur, the monster of Greek mythology—half bull and half human—that traditionally has been seen as the embodiment of the struggle between the human and the bestial, becomes in Picasso’s work not only an evocation of that idea but also a kind of self-portrait.
Finally, Picasso’s own brand of Surrealism found its strongest expression in poetry. He began writing poetry in 1935, and during one year, from February 1935 to the spring of 1936, Picasso virtually gave up painting. Collections of poems were published in Cahiers d’Art (1935) and in La Gaceta de Arte (1936, Tenerife), and some years later he wrote the Surrealist play Le Désir attrapé par la queue (1941; Desire Caught by the Tail).
Sculpture
Picasso’s reputation as a major 20th-century sculptor came only after his death, because he had kept much of his sculpture in his own collection. Beginning in 1928, Picasso began to work in iron and sheet metal in Julio González’s studio in Paris. Then, in 1930, he acquired the château Boisgeloup (northwest of Paris), where he had room for sculpture studios. There, with his mistress Marie-Thérèse Walter as his muse, Picasso began working in 1931 on large-scale plaster heads. In the 1930s he also made constructions incorporating found objects, and until the end of his life Picasso continued working in sculpture in a variety of materials.
The 1930s
The privacy of his life with the undemanding Marie-Thérèse formed a contrast to the hectic pace of life kept by Olga and her bourgeois circle of society friends. Once in Boisgeloup, Picasso lived secretly with Marie-Thérèse (with whom he had a child, Maya, in 1935), and she became the subject of his often lyrical, sometimes erotic paintings, in which he combined intense colour with flowing forms (Girl Before a Mirror [1932]).
Picasso never completely dissociated himself from the women who had shared his life once a new lover occupied his attention. That is evident in his work, in which one woman often turns into another; for instance, in a private sketchbook (number 99 [1929]) Picasso’s portrait drawings betray his double life, for the pictures of his then secret mistress evolve into horrific images of screaming Olgas. In 1936 he began a relationship with the French photographer Dora Maar. That change in his own life coincided with a period of personal preoccupation with the Spanish Civil War, which had begun in that year.
Although Picasso never returned to his native country after a visit in 1934, his sympathies always lay with Spain (the short-lived Republican government named him honorary director of the Prado), and in early 1937 he produced a series of etchings and aquatints (Dream and Lie of Franco) to be sold in support of the Republican cause. His major contribution, of course, was the mural painting Guernica (named for the Basque town bombed in 1937 by the Fascists), commissioned by the Republican government for the Spanish pavilion at the 1937 World’s Fair in Paris. As compensation Picasso was provided with a studio in Paris on rue des Grands Augustins large enough to accommodate the enormous canvas (11.5 × 25.5 feet [3.49 × 7.77 metres]). Dora Maar assisted him in the completion of the final work, which was realized in just over three weeks. The imagery in Guernica—the gored horse, the fallen soldier, and screaming mothers with dead babies (representing the bullfight, war, and female victims, respectively)—was employed to condemn the useless destruction of life, while at the same time, the bull represented the hope of overcoming the unseen aggressor, Fascism.
World War II and after
The expressive quality of both the forms and gestures in the basically monochromatic composition of Guernica found its way into Picasso’s other work, especially in the intensely coloured versions of Weeping Woman (1937) as well as in related prints and drawings, in portraits of Dora Maar and Nusch Éluard (wife of Picasso’s friend the French poet Paul Éluard), and in still lifes (Still Life with Red Bull’s Head [1938]). Those works led to the claustrophobic interiors and skull-like drawings (sketchbook number 110 [1940]) of the war years, which Picasso spent in France with Maar as well as with Jaime Sabartés, a friend of his student days in Barcelona. Thereafter Sabartés shared Picasso’s life as secretary, biographer, and companion and more often than not as the butt of endless jokes (Portrait of Jaime Sabartés [1939]; Retour de Bruxelles, sketchbook number 137 [1956]).
After the liberation of Paris, Picasso resumed exhibiting his work, notably at the Salon d’Automne of 1944 (“Salon de la Libération”), where his canvases of the preceding five years were received as a shock. That plus the announcement that Picasso had just joined the Communist Party led to demonstrations against his political views in the gallery itself. At the same time, Picasso opened up his studio to both new and old writer and artist friends, including Jean-Paul Sartre, Pierre Reverdy, Éluard, the photographer Brassaï, the English artist Roland Penrose, and the American photographer Lee Miller, as well as many American GIs.
Already in 1943 a young painter, Françoise Gilot, had presented herself at the studio, and within months she became Picasso’s mistress. In 1946 Picasso moved to the Mediterranean with Gilot (with whom he was to have two children, Claude in 1947 and Paloma in 1949). First they stayed near Antibes, where Picasso spent four months painting at the Château Grimaldi (Joie de Vivre [1946]). The paintings of that time and the ceramics he decorated at the studio in nearby Vallauris, beginning in 1947, vividly express Picasso’s sense of identification with the classical tradition and with his Mediterranean origins. They also celebrate his new found happiness with Gilot, who in works of that period is often nymph to Picasso’s fauns and centaurs.
Ceramics
Picasso’s ceramics are usually set apart from his main body of work and are treated as less important, because at first glance they seem a somewhat frivolous exercise in the decoration of ordinary objects. Plates, jugs, and vases, made by craftsmen at the Madoura pottery in Vallauris, were in Picasso’s hands reshaped or painted, gouged out, scratched, or marked by fingerprints and, for the most part, were rendered useless. In turning to craft, Picasso worked with a sense of liberation, experimenting with the play between decoration and form (between two and three dimensions) and between personal and universal meaning.
During that period Picasso’s fame increasingly attracted numerous visitors, including artists and writers, some of whom (Hélène Parmelin, Édouard Pignon, Éluard, and especially Louis Aragon) encouraged Picasso’s further political involvement. Although he contributed designs willingly (his dove was used for the World Peace Congress poster in Wrocław, Poland, in 1949), it was not so much from a commitment to the communists as from a sincere and lifelong sympathy with any group of repressed people. War and Peace, two panels begun in 1952 to adorn the Temple of Peace attached to an old chapel in Vallauris, reflect Picasso’s personal optimism of those years.
The Picasso myth
After World War II an aura of myth grew up around the name of Picasso, and in the last decades of his life his work had, in a sense, moved beyond criticism. Although there were few critics able to keep pace with his latest work, there were few who attacked him. One exception was the British critic John Berger (The Success and Failure of Picasso [1965]), who raised questions about Picasso’s economic motives and speculated about his inflated public reputation. Picasso’s enormous output (especially in printing and drawing) kept his name before the public, even though his work seemed at the time to be far-from-mainstream nonfigurative imagery. For example, in the series that characterized the working methods of his late years, he used figurative imagery to weave a kind of narrative within each series’ numerous variations.
In 1953 Françoise Gilot with their two children left Picasso, and he spent several years as a bachelor, dividing his time between Paris and his home at La Californie, near Cannes (from 1955). In 1953 he met Jacqueline Roque, who worked in the pottery shop in Vallauris, and from 1954 (they married in 1961) she not only became his steadfast companion, but also, as his muse, she became the principal image and source of inspiration for practically all of the late work. They are both buried in the castle at Vauvenargues, which Picasso purchased in 1958. But the years from their marriage to Picasso’s death they spent in the villa Notre-Dame-de-Vie at Mougins.
History of art
In his late work Picasso repeatedly turned toward the history of art for his themes. He seemed at times obsessed with the need to create variations on the works of earlier artists; thus, in his many prints, drawings, and paintings of that period, reference is made to artists such as Albrecht Altdorfer, Édouard Manet, Rembrandt, Eugène Delacroix, and Gustave Courbet. Repeatedly Picasso did a complete series of variations on one particular work, the most famous being perhaps the series on Las Meninas of Velázquez consisting of 58 discrete pictures. At times Picasso reworked a specific work because he identified personally with it. For example, he was attracted to Delacroix’s Femmes d’Alger because the figure on the right bore resemblance to Jacqueline. More often he seemed moved by the challenge to rework in his own way the complex pictorial and narrative problems the older artists had originally posed for themselves. In a sense Picasso was writing himself into the history of art by virtue of such an association with a number of his predecessors.
There is a renewed sense of play in the work of Picasso’s later years. He transformed paper cutouts into monumental sculptures, and in Henri-Georges Clouzot’s film Le Mystère Picasso (1956), the artist, the sole star, behaves like a conjurer, performing tricks with his brush. And finally, just as he turned to the paintings of earlier masters, redoing their works in many variations, so he turned to his own earlier oeuvre, prompted by the same impulse. The circus and the artist’s studio became once again the stage for his characters, among whom he often placed himself portrayed as an old acrobat or king.
Legacy
Because Picasso’s art from the time of the Demoiselles was radical in nature, virtually no 20th-century artist could escape his influence. Moreover, whereas other masters such as Henri Matisse or Braque tended to keep within certain stylistic boundaries, Picasso continued to be an innovator into the last decade of his life. That led to misunderstanding and criticism both in his lifetime and since, and it was only in the 1980s that his last paintings began to be appreciated both in themselves and for their profound influence on the rising generation of young painters. Since Picasso was able from the 1920s to sell works at very high prices, he could keep most of his oeuvre in his own collection. At the time of his death he owned some 50,000 works in various media from every period of his career, a selection of which passed into possession of the French state and the rest to his heirs. Their exhibition and publication served to reinforce the highest estimates of Picasso’s astonishing powers of invention and execution over a span of more than 80 years.
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. His career spanned more than 76 years, from his late teens to his death in 1973.
Beginning his formal training under his father José Ruiz y Blasco aged seven, Picasso demonstrated extraordinary artistic talent from a young age, 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 output, especially in his early career, is often periodized. 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
Childhood
Picasso was born at 23:15 on 25 October 1881, in the city of Málaga, Andalusia, in southern Spain.[5] He was the first child of 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]
Picasso's birth certificate and the record of his baptism include very long names, combining those of various saints and relatives (St. James, St. Joseph, St. Francis of Paola, St. John of Nepomuk, Mary of the Remedies, St. Cyprian, the Holy Trinity, Ruiz, y, Picasso).[b][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.[16] 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.[18]
The family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. They stayed for 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,[19] though paintings by him exist from later years.[20]
In 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria.[21] 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.[22] 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.[23]
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.[22] 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 de 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.[24]
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 extant records of any major artist's beginnings.[25] 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.[26] 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."[27]
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.[28]
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.[29] 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.[30]
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.[31] 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.[32]
The same mood pervades the well-known etching The Frugal Repast (1904),[33] 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
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The Rose Period (1904–1906)[34] is characterized by a lighter tone and style utilizing 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.[21] 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.[36] 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.[37]
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.[38]
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.[39] 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.[40] 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.[41] 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.[42]
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.[43][44]
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 cubist collage and simultaneously what is often considered to be the first assemblage, with his creation of the seminal work Still Life with Chair Caning (1912; oil and printed oilcloth on canvas edged with rope).[45][46]
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".[47][48] "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.[49][47][50] 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.[47][49]
After acquiring some fame and fortune, Picasso left Olivier for Marcelle Humbert, also known as 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.[51]
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.[52]
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.[53] 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.[54]
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,[55] 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.[56] In the summer of 1921, Picasso, Khokhlova and Paulo stayed at a villa in the village of Fontainebleau, France; during their time there, Picasso, using the garage as a studio, painted Three Women at the Spring and Three Musicians.[57][58]
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Neoclassicism and surrealism: 1919–1929
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In February 1917, Picasso made his first trip to Italy.[59] 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.[60]
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. 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. Surrealism revived Picasso's attraction to primitivism and eroticism.[61]
In 1927, Picasso met 17-year-old Marie-Thérèse Walter and began a long-standing affair with her.[62] She became his "Golden muse," and he fathered a daughter with her, named Maya.[63]
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The Great Depression, Guernica, and the 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.[64]
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."[65][66]
Guernica was exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, and then became the centrepiece 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.[67]
Before Guernica, Picasso had never addressed political themes in his art. The politicized nature of the work is largely attributed to his romantic relationship at the time with the French anti-fascist activist and surrealist photographer, Dora Maar.[68] In addition, her black and white photographs are likely to have influenced the black and white scheme of Guernica, in stark contrast to Picasso's usual colorful paintings. "Maar's practice of photography influenced the art of Picasso – she had a great influence on his work," said Antoine Romand, a Dora Maar expert. "She contested him. She pushed him to do something new and to be more creative politically."[68] Maar had exclusive access to Picasso's studio to observe and photograph the creation of Guernica.[69] At Picasso's request, Maar painted parts of the dying horse.[69]
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.[70] 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".[71] 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.[71]
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 confused Germans who came to steal both his and Matisse's paintings from a bank vault, disparaging the value of his work and distracting them from a more thorough search, thus protecting their collections.[74] 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."[75]
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.[76]
Around this time, Picasso wrote poetry as an alternative outlet. Between 1935 and 1959 he wrote more than 300 poems. Largely untitled except for a date and sometimes the location of where they were 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), The Four Little Girls (1949) and The Burial of the Count of Orgaz (1959).[77]
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.
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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.
Later works and 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 Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix.[citation needed]
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.[78]
In 1952, Picasso met Jacqueline Roque, who 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.[79]
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-high (15 m) 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.[80] 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.[81]
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.[82][83] 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.[84]
In the spring of 1973, Picasso assisted in putting together 201 of his paintings for the Avignon Arts Festival, which opened at the Palais des Papes in May of that year.[85] The canvases, according to Paul Puaux, the festival director who had visited Picasso at his home, represented the artist's work from October 1970 until the end of 1972.[85]
Death
Picasso died on 8 April 1973 in Mougins, France, from a heart attack brought on by pulmonary edema.[86] The evening before his death, Picasso and his wife Jacqueline entertained friends for dinner.[86] He painted until 3 a.m. on this particular night before going to bed.[86] Picasso woke up at 11:30 a.m., but he was unable to get out of bed.[86] Jacqueline called his physician, Dr. Jean-Claude Rance, for assistance, but he died at 11:40 a.m. before a doctor arrived.[85]
Picasso 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 1961.[87] Jacqueline prevented Picasso's children Maya, Claude, and Paloma, and his grandson Pablito from seeing his body.[88][89] Only Paulo, the sole legitimate child of Picasso, was allowed to attend the funeral.[90][91]
Picasso died without a will, which led to a feud over his estate.[92][93] His three illegitimate children were granted the right to share the Picasso estate by French judges, despite opposition from Jacqueline and Paulo.[94][95] Following the death of Paulo in 1975, Picasso's surviving heirs were his widow, Jacqueline; his grandchildren from Paulo, Marina and Bernard; and his children, Claude, Paloma and Maya.[96][97] They reached a settlement on how to divide Picasso's $240 million estate in December 1976.[98][99]
Works
Style and technique
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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.[100] 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.[101]
The medium in which Picasso made his most important contribution was painting.[102] In his paintings, Picasso used colour as an expressive element, but relied on drawing rather than subtleties of colour to create form and space.[102] 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.[103][104] 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.[102] 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".[105]
From the beginning of his career, Picasso displayed an interest in subject matter of every kind,[106] 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.[107] 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).[59] 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."[59]
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.[108] 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.[107] Guernica was on display at the 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.[109]
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."[110] 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".[110] 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."[110]
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.[111] 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".[112] The reappearance of an acrobats theme in 1905 put an end to his "Blue Period", marking the transition into his "Rose Period". This transition has been incorrectly attributed to the presence of Fernande Olivier in his life.[113]
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.[114][115]
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.[116]
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.[117]
- 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[118]
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
Personal life
Picasso has been characterized as a womaniser and a misogynist, being quoted as saying to his longtime partner Françoise Gilot that "women are machines for suffering."[119] He later allegedly told her, "For me there are only two kinds of women: goddesses and doormats."[120] 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."[121]
From early adolescence, Picasso maintained both superficial and intense amatory sexual relationships. Biographer John Richardson stated that 'work, sex, and tobacco' were his addictions.[122] Picasso was married twice and had four children with three women:
- Paulo Picasso (4 February 1921 – 5 June 1975, Paul Joseph Picasso) – his son with Olga Khokhlova
- Paulo had 3 children: Pablito Picasso (5 May 1949 – 12 July 1973); Marina Picasso (b. 14 November 1950); Bernard Ruiz-Picasso (b. 3 September 1959)
- Maya (5 September 1935 – 20 December 2022, Maria de la Concepcion Picasso) – his daughter with Marie-Thérèse Walter
- Maya had 3 children: Olivier Widmaier Picasso (b. 4 June 1961); Richard Widmaier Picasso (b. 1966); Diana Widmaier Picasso (b. 12 March 1974)
- Claude (15 May 1947 – 24 August 2023, Claude Ruiz Picasso) – his son with Françoise Gilot
- Claude had 1 child: Jasmin Picasso (b. 1981)
- Paloma (born 19 April 1949, Anne Paloma Picasso) – his daughter with Françoise Gilot
Picasso married ballet dancer Olga Khokhlova in 1918.[123] In 1935, Picasso began divorce proceedings, but Khokhlova refused to divorce.[123] They legally separated in 1941, but remained married until Khokhlova's death in 1955.[94]
When Picasso's mistress Marie-Thérèse Walter gave birth to their daughter Maya in 1935, he secretly placed them in an apartment at 44 rue de La Boétie in the 8th arrondissement, which was across from his residence with his wife Olga at number 23.[124] In 1937, Marie-Thérèse and Maya were sent to Le Tremblay-sur-Mauldre.[124] Maya was 10 years old when she learned that she had an older brother, Paulo.[124]
Photographer and painter Dora Maar was 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.[125]
In December 1961, Picasso's children with artist Françoise Gilot, Claude and Paloma, were granted full legal rights to use the name Picasso after their father legally recognized his paternity in a written statement submitted to a French court.[92] However, ten years later, Picasso successfully contested a legal case in which he refused to acknowledge paternity.[92] Three weeks following the 1961 court case, newspapers revealed his second marriage to Jacqueline Roque, a salesgirl at a pottery store. In her 1964 book Life with Picasso, Gilot describes his abusive treatment and myriad infidelities which led her to leave him, taking the children with her in 1953.[126][127] The book angered Picasso and he severed ties with his children.[127] His strained relationship with Claude and Paloma was never healed.[128] Gilot later stated in an interview with The Times:
Of the several important women in his life, two of them – his lover Marie-Thèrése Walter and his second wife Jacqueline Roque – died by suicide. Others, notably his first wife Olga Khokhlova and lover Dora Maar, succumbed to nervous breakdowns. His grandson, Pablito, died by suicide from ingesting bleach when he was barred by Picasso's widow, Jacqueline, from attending the artist's funeral in 1973.[119][88] His son, Paulo, died from alcoholism due to depression in 1975.[127][91] Devastated and lonely after the death of Picasso, Jacqueline fatally shot herself in 1986.[129]
Political views
Picasso remained aloof from the Catalan independence movement during his youth, despite expressing general support and being friendly with activists within it.[130] 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.[131]
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.[132] 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".[133] 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.[133][134]
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.[135] 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.[132] 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."[132] 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."[136] 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[137]):
In the late 1940s, his old friend surrealist poet André Breton, who was a Trotskyist and anti-Stalinist, was more blunt;[141] 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."[142] 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.[143][144] 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.[145]
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.[146]
In 1962, he received the Lenin Peace Prize.[147] Biographer and art critic John Berger felt his talents as an artist were "wasted" by the communists.[148] 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."[149]
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 New York's Museum of Modern Art, 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."[150] In 1971, Picasso was the first living artist to receive a special honour exhibition at the Grand Gallery of the Louvre Museum in Paris in celebration of his 90th birthday.[151] 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."[152]
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.[153] 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.[154]
Museums
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.[94] These works form the core of the immense and representative collection of the Musée Picasso in Paris.[155]
In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Málaga, Spain, the Museo Picasso Málaga.[156]
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.[157][158]
In 1985, Museum Picasso Eugenio Arias' Collection established in Buitrago del Lozoya by Picasso's friend Eugenio Arias Herranz.[159]
From 8 October 2010 to 17 January 2011, 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, was on display at the Seattle Art Museum, Seattle, Washington, USA.[160] The exhibition subsequently travelled to the Virginia Museum of Fine Arts, Richmond, Virginia;[161] the M.H. de Young Memorial Museum, San Francisco, California, USA;[162] the Art Gallery of New South Wales, Sydney, Australia;[163] and the Art Gallery of Ontario, Toronto, Ontario, Canada.[164] (The works were on tour while the Musée underwent a multi-year renovation.) The catalog was written by Anne Baldassari, the Chairman and Chief Curator of Collections of the Musée Picasso (ASIN B005JX7O16)
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.[165]
As of 2015, Picasso remained the top-ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.[166] More of his paintings have been stolen than those of any other artist;[167] in 2012, the Art Loss Register had 1,147 of his works listed as stolen.[168]
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The Picasso Administration
Picasso's heirs formed a committee to formally authenticate his works at the beginning of the 1980s.[97] However, disagreements regarding the legitimacy of a series of drawings led to the dissolution of the committee in 1993. Two of the children, Claude and Maya, began issuing authenticity certificates separately.[97] Dealers claim that this has resulted in a situation that has been difficult and time-consuming, especially since auction houses were increasingly requesting certifications from both heirs due to the dual (and competing) authentication methods.[97]
In 2012, four of Picasso's five surviving heirs—Claude, Paloma Picasso, Bernard Ruiz-Picasso, and Marina Ruiz-Picasso—established the Picasso Administration to authenticate works by the artist. They announced that Claude should now be the recipient of all authentication requests, adding that "only his opinions shall be fully and officially acknowledged by the undersigned."[97] Claude served as legal administrator of the estate from 1989 until 2023, when his sister Paloma took over.[169]
The Picasso Administration also manages the Picasso estate.[97] The US copyright representative for the Picasso Administration is the Artists Rights Society.[170]
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. Dora Maar au Chat sold for US$95.2 million at Sotheby's on 3 May 2006.[171] On 4 May 2010, Nude, Green Leaves and Bust was sold at Christie's for US$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.[172] 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.[173]
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.[174][175]
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.[176]
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.[177]
In pop culture
In the 1996 movie Surviving Picasso, Picasso is portrayed by actor Anthony Hopkins.[178] 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.
Picasso is portrayed by Antonio Banderas in the 2018 season of Genius, which focuses on his life and art.[179]
In the 2011 film Midnight in Paris, which was directed by Woody Allen, Picasso (portrayed by Marcial Di Fonzo Bo) appears as a member of the 1920s Parisian art circles.[180][181][182]
See also
Notes and references
Notes
- Pronounced UK: /ˈpæbloʊ pɪˈkæsoʊ/, US: /ˈpɑːbloʊ pɪˈkɑːsoʊ, -ˈkæs-/;[2][3][4] Spanish: [ˈpaβlo piˈkaso].
- In this Spanish name, the first or paternal surname is Ruiz and the second or maternal family name is Picasso. Picasso's full name includes various saints and relatives. According to his birth certificate, issued on 28 October 1881, he was born Pablo Diego José Francisco de Paula Juan Nepomuceno Cipriano de la Santísima Trinidad Ruiz Picasso.[5] According to the record of his baptism, he was named Pablo Diego José Francisco de Paula Juan Nepomuceno Crispín Cipriano (other sources: Crispiniano) de la Santísima Trinidad María de los Remedios Alarcón y Herrera Ruiz Picasso.[6][5][7] He was named Juan Nepomuceno after his godfather, a lawyer, friend of the family, called Juan Nepomuceno Blasco y Barroso.[5] He was named Crispín Cipriano after the twin saints celebrated on 25 October, his birth date.[6] Nepomuceno's wife and Picasso's godmother, María de los Remedios Alarcón y Herrera, was also honored in Picasso's baptismal name.[5]
- Though baptized a Catholic, Picasso would later become an atheist.[15]
References
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Unlike Matisse's chapel, the ruined Vallauris building had long since ceased to fulfill a religious function, so the atheist Picasso no doubt delighted in reinventing its use for the secular Communist cause of 'Peace'.
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Further reading
- Gedo, Mary Matthews (2009). Picasso: Art as Autobiography. Chicago: University of Chicago Press. ISBN 9780226284828.
- Penrose, Roland; Golding, John, eds. (1980). Picasso in Retrospect (Icon ed.). New York, NY: Harper & Row. ISBN 978-0064301015.
- 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.)
Picasso Is Dead in France at 91
April 9, 1973, Page 1Buy Reprints
MOUGINS, France, April 8—Pablo Picasso, the titan of 20th‐century art, died this morning at his hilltop villa of Notre Dame de Vie here. He was 91 years old.
The death of the Spanishborn artist was attributed to pulmonary edema, fluid in the lungs, by Dr. Jean‐Claude Rance, a local physician who was summoned to the 35‐room mansion by the family. Dr. Rance said that Picasso had been ill for several weeks.
With him when he died was his second wife, the 47‐year‐old Jacqueline Roque, whom he married in 1961. In the last few years, Picasso rarely left his 17‐acre estate, which was surrounded by barbed wire. He had been in exile from his native land since 1939, when Generalissimo Francisco Franco defeated the Republican Government of Spain in the three‐year Civil War.
About 10 days ago, Picasso was helping to assemble 201 of his paintings for exhibition at the Avignon Arts Festival, which will open in that city May 23 at the Palais des Papes. According to Paul Puaux, the festival director who had visited the artist at his home on the Riviera above Cannes, these canvases covered the artist's output from October, 1970 to the close of 1972.
“There was something comMuseum Is Thronged In Spontaneous Tribute
Large crowds thronged about the Picassos at the Museum of Modern Art yesterday afternoon.
Tourists, museumgoers and television camera crews mingled before “Guernica,” “Harlequin,” “The Card Player” and “The Studio,” major works from the middle years of 1913 to 1937. The museum put a large vase of flowers in the main lobby and nearby a strip of cloth with “Picasso” lettered on it in gold.
“Guernica” drew many to the third floor. “I was a small girl when he did this painting,” said Margaret Schneider of Brooklyn. Rose Friedman of Huntington, L.I., called it “haunting.”
Mya Kroksteron of Stockholm called the reaction at the museum touching.
900 of his early works to Barcelona. These were said to be the best of his output up to 1917.
Earlier, in 1963, Picasso's close friend, the late Jaime Sabartes, had donated his Picasso collection of some 400 works to the city of Barcelona, and the Palacio Aguilar was then renamed the Picasso Museum'However, the Franco regime covertly opposed the museum and the artist's name was not on the door.
A Paris friend credited Picasso's gift to Barcelona to his sense of irony. “He liked putting an important Picasso collection right in the middle of Barcelona when there was unrest in Spain and Franco was on his way out,” the friend explained.
Picasso's works fetched enormous prices at auction, in the hundreds of thousands of dollars. By sales through his dealers, the artist himself became wealthy, although the precise size of his estate was not known.
In addition to his wife, Picasso leaves four children, son, Paulo, born to his late first wife, the dancer Olga Khoklova; a daughter, Mrs. Pierre Widmaier, born to his mistress Marie‐Therese Walter, and a son, Claude, and a daughter, Paloma, both the children of Frangoise Gilot, another mistress, now the wife of the biologist Dr. Jonas Salk.
Funeral plans were incomplete last night.
His Genius Is Hailed
Following are some of the tributes to Picasso expressed yesterday:
ALFRED H. BARR JR., first director of the Museum of Modern Art and a leading Picasso scholar: In his great mural, Guernica, he expressed for all time his fury against the bestiality of war and man's cruelty against man. Unlike most artists, age did not slacken his energy; he worked on uninterruptedly to the end. We are fortunate in having been witness to his presence in our time.
HENRY MOORE, the sculptor: There's no doubt Picasso was a unique and great person. He was a phenomenon, really.
THOMAS HART BENTON, American artist: He was an artist who stays within art. I'm a regionalist who goes out and lives with art and looks at the people. For that reason I've never paid too much attention to him. Making some kind of a judgment, that's going to take 20 to 25 years to see if he stands up.
JULIO ALVAREZ DEL VAYO, former Spanish Foreign Minister: I consider him not only the greatest painter of the century but also one of the greatest of Spaniards. He was a great patriot, a defender of the rights of the Spanish people.
MAURICE DRUON, French Minister of Cultural Affairs: A very great artist of protean genius. He filled his century with his colors, his forms, his seekings, his audacities and his vivacious personage.
MEYER SCHAPIRO, art historian: Picasso's art more than any other has given our century confidence in the creative powers of man.
ROBERT MOTHERWELL, American artist: He is the last artist in this century who will dominate the scene, who will have been a real king during his lifetime. Now it will become a republic…. I think any contemporary modern artist feels as though his belnvPri orandfather had died.
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