Visiting Picasso

Draws on Penrose's private notebooks and correspondences to offer insight into his friendship with the artistic master, from Penrose's personal observations of Picasso's achievements and behaviors to his recordings of the words and actions of some of the artist's closest friends and family members.

Poems that draw you into them and make their experience your own

»Er stört mich nicht«, hatte Picasso über den Fotografen Edward Quinn gesagt, nachdem dieser ihn Anfang der 1950er-Jahre erstmals bei der Arbeit im Keramikatelier fotografiert hatte. Das war sicher einer der Gründe, warum Quinn den Künstler von 1951 an über 20 Jahre während seiner Zeit an der Côte d’Azur mit seiner Leica begleiten durfte: im Atelier, ganz privat, mit Künstlerfreunden, beim Stierkampf, in Gesellschaft, mit Geliebten oder einfach beim Friseur. Das Quinn-Archiv beherbergt einen großen Bestand an Fotos von hoher Vertrautheit, die Picasso im Alltagsleben zeigen und seinen eigenwilligen Charakter, seinen Humor, seinen Enthusiasmus auf eine sympathische Art dokumentieren. Edward Quinn benutzte mit seiner Kamera kein Stativ, leuchtete den Raum nicht künstlich aus, ihm ging es vor allem um glaubwürdige Aufnahmen. Als Betrachter sieht man sich auf Augenhöhe mit den Protagonisten der Fotografien. Fast wie in der späteren Street Photography gibt es eine beiläufige Gegenwart, die den Betrachter in den Bann zieht. Dieses Buch versammelt eine magische Auswahl von Fotos aus dem Alltagsleben Picassos und zeigt den bekannten Künstler in vielen unbekannten Situationen.

Exactly when Matisse and Picasso first met is open to debate. Their earliest encounter may have taken place during the Matisse retrospective at Galerie Druet right before the 1906 Salon des Indépendants. The latter marked the first time all the Fauves exhibited together. The centerpiece was Matisse’s monumental Le bonheur de vivre. Leo Stein bought the painting while the Salon was still running, regarding it as “the most important work of our time.” This opinion undoubtedly annoyed Picasso. Jealousy of the other man’s success goaded him to greater innovations. In his view, the new art would have to match the sense of endless discovery that science and technology were offering. The 1900 “Exposition Universelle” had already shown the latest marvels in engineering. If painting wanted to keep the public’s attention, instead of merely reproducing what the eye saw, it had to generate its own reality on the surface of the canvas, a reality more vivid than, and bearing only the most cursory resemblance to, anything found in nature. Matisse was also a catalyst in that he was the one who introduced Picasso to African sculptures. Max Jacob recalls: “Matisse took a black, wooden statuette from a table and showed it to Picasso. It was the first piece of Negro wooden art. Picasso held onto it all evening. The next morning, when I arrived at the studio, the floor was strewn with sheets of paper, and on each sheet was drawn the head of a woman; all of them were more or less the same: one eye, an oversized nose attached to the mouth, and a lock of hair on the shoulders. Cubism was thus born” (cited in Janine Warnod, Washboat Days [New York: Grossman Publishers Warnod, 1972, p. 128]).

A groundbreaking reassessment of Picasso by one of today's preeminent art historians Picasso and Truth offers a breathtaking and original new look at the most significant artist of the modern era. From Pablo Picasso's early The Blue Room to the later Guernica, eminent art historian T. J. Clark offers a striking reassessment of the artist's paintings from the 1920s and 1930s. Why was the space of a room so basic to Picasso's worldview? And what happened to his art when he began to feel that room-space become too confined—too little exposed to the catastrophes of the twentieth century? Clark explores the role of space and the interior, and the battle between intimacy and monstrosity, in Picasso's art. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this volume remedies the biographical and idolatrous tendencies of most studies on Picasso, reasserting the structure and substance of the artist's work. With compelling insight, Clark focuses on three central works—the large-scale Guitar and Mandolin on a Table (1924), The Three Dancers (1925), and The Painter and His Model (1927)—and explores Picasso's answer to Nietzsche's belief that the age-old commitment to truth was imploding in modern European culture. Masterful in its historical contextualization, Picasso and Truth rescues Picasso from the celebrity culture that trivializes his accomplishments and returns us to the tragic vision of his art—humane and appalling, naïve and difficult, in mourning for a lost nineteenth century, yet utterly exposed to the hell of Europe between the wars. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size.

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Where does creativity come from? Why are some people more creative than others? Eminent neuropsychologist Christine Temple navigates a wide range of factors from the hard science (visual memory, spatial ability, brain functions) to the environmental (the 'mad genius' myth, and Gladwell's 10,000 hours of practice) in her study of what contributes to creativity. Using Pablo Picasso as her model of a creative genius, she weighs up each theory as it applies to Picasso and shows how his own creativity came from a combination of many factors. In this book, she looks at Picasso's playful mindset and passionate relationships, investigates the possibility that genius is genetic and can be inherited in families, considers whether creative genii perceive the world in a different way, and determines whether single-mindedness and focus play a part. This is the first book to look at a multitude of traits in creativity, and nail down the key factors that matter (and also which ones don't) to provide an overall picture of this fascinating area, linking the science to the personal.

The beautifully illustrated fourth volume of Picasso’s life—set in France and Spain during the Spanish Civil War and World War II—covers friendships with the surrealist painters; artistic inspiration around Guernica and the Minotaur; and his muses Marie-Thérèse, Dora Maar, and Françoise Gilot; and much more. Including 271 stunning illustrations and drawing on original and exhaustive research from interviews and never-before-seen material in the Picasso family archives, this book opens with a visit by the Hungarian-French photographer Brassaï to Picasso’s chateau in Normandy, Boisgeloup, where he would take his iconic photographs of the celebrated plaster busts of Marie-Thérèse, Picasso’s mistress and muse. Picasso was contributing to André Breton’s Minotaur magazine and he was also spending more time with the likes of Man Ray, Salvador Dalí, Lee Miller, and the poet Paul Éluard, in Paris as well as in the south of France. It was during this time that Picasso began writing surrealist poetry and became obsessed with the image of himself as the mythic Minotaur—head of a bull, body of a man—and created his most famous etching, Minotauromachie. Richardson shows us the artist is as prolific as ever, painting Marie-Thérèse, but also painting the surrealist photographer Dora Maar who has become a muse, a collaborator and more. In April 1937, the bombing of the town of Guernica during the Spanish Civil War inspires Picasso’s vast masterwork of the same name, which he paints in just a few weeks for the Spanish Pavilion at the Paris World’s Fair. When the Nazis occupy Paris in 1940, Picasso chooses to remain in the city despite the threat that his art would be confiscated. In 1943, Picasso meets Françoise Gilot who would replace Dora, and as Richardson writes, “rejuvenate his psyche, reawaken his imagery and inspire a brilliant sequence of paintings.” As always, Richardson tells Picasso’s story through his work during this period, analyzing how it shows what the artist was feeling and thinking. His fascinating and accessible narrative immerses us in one of the most exciting moments in twentieth century cultural history, and brings to a close the definitive and critically acclaimed account of one of the world’s most celebrated artists.