Picasso reproduction oil painting

Picasso reproduction oil painting

Spanish painter, generally regarded as the most important artist of the 20th century. A long-lived and highly prolific artist, he has experimented with a wide variety of styles and themes throughout his career. Of Pablo Picasso's many contributions to the history of art, his most important work includes the groundbreaking movement in modern art called cubism.

Pablo Picasso was born to Pablo Ruiz in Malaga , Spain. Picasso 's father, who was an art teacher, quickly realized that his son, Pablo, was a prodigy. Picasso studied art first privately with his father, then at the Academy of Fine Arts in La Coruna, Spain, where his father taught. In 1895, his family moved to Barcelona, Spain, after receiving a teaching position from his father at the Academy of Fine Arts in Barcelona. Picasso was admitted to advanced courses at the academy after completing the entrance test on a single day, which usually gave the applicants a month to complete. Picasso left Barcelona in 1897 to study at the Madrid Academy in the Spanish capital. Dissatisfied with his preparation, he left and returned to Barcelona.

After Picasso visited Paris in October 1900, he traveled back and forth between France and Spain until he settled in the French capital in 1904. In Paris, he met and experimented with a number of modern artistic styles. Picasso's oil painting Le Moulin de la Galette (1900, Guggenheim Museum, New York City) revealed his interest in the theme of Parisian nightlife and in the style of French painter Henri de Toulouse-Lautrec, a style steeped in caricature. Including cafe scenes, Picasso drew landscapes, still lives, and portraits of friends and performers.

From 1901 to 1903, Picasso started his first truly original style, known as the blue era. Restricting his color scheme to blue, Picasso portrayed faded and fading characters whose body language and clothes represent the lowness of their social status. Why Picasso 's oil paintings were dominated by blue during this period remains unclear. An interpretation is that Picasso considered blue to be especially suitable for his subject because it is a color associated with melancholy.

Picasso's style changed in 1904, inaugurating the rose era, often referred to as the circus era. Although Picasso was still focused on social outcasts, especially circus performers, his color scheme lightened, featuring warmer, reddish hues, and thick blue-era outlines vanished.

Experimentation and rapid style changes mark the years from the end of 1905. Picasso 's oil paintings of late 1905 are more emotionally distant than those of the blue or rose periods. The color scheme lightens, beige and bright brown predominates, and depression and isolation give way to a more rational approach. Picasso's growing interest in form is evident in his references to classical sculpture. For example, the figure of a sitting boy in Two Youth (1905, National Gallery, Washington, D.C.) recalls the ancient Greek sculpture of a boy who had removed a thorn from his foot.

By 1906 Picasso had been involved in sculptures from the Iberian Peninsula dating from the 6th to the 3rd century B.C. Picasso must have considered them of particular interest, both because they are native to Spain and because they display remarkable simplification of shape.

The origins of cubism date back to Les Demoiselles d'Avignon (Museum of Modern Art, New York City), according to many art historians. The oil painting of 1907 depicts five women in a brothel. The artist transformed the anatomy and facial features of women into fractured planes. For eg, the head of the figure at the bottom right turns in an anatomically impossible way. Such discrepancies proved so surprising that even Picasso's fellow painters responded negatively to the Demoiselles d'Avignon. The French painter Henri Matisse allegedly told Picasso that he was attempting to mock the new movement.

Demoiselles d'Avignon is the beginning of a modern visual vocabulary, known as cubism. In general, Scholars divides the cubist developments of Picasso and the French painter Georges Braque into two groups. In the first stage, analytical cubism, the artists fragmented three-dimensional shapes into multiple geometrical planes. In the second level, synthetic cubism, the cycle was reversed, putting together abstract planes to reflect human beings, still lives, and other recognizable forms.

The year 1912 marks yet another major development in the cubist language: the invention of collage. In Still Life with Chair Caning (1912, Mus?e Picasso), Picasso added a piece of oilcloth (which depicts cane woven) to his work. With this move, Picasso not only abused the dignity of the medium, oil painting on canvas, but also used a material that had no prior relation to high art. By using pieces of fabric, paper, wallpaper, ads, and other materials in his work, Picasso opened the door for any object or item, however common, to be used in the work of art. This breakthrough had significant implications for the art of the later 20th century.

From the First World War ( 1914-1918), Picasso switched from style to style. In 1915, for example, Picasso painted the highly abstract Harlequin (Museum of Modern Art) For Picasso, the years 1920 to 1925 were marked by a near attention to three-dimensional forms and classical themes: bathers and women in classical drapery. Most of these figures were portrayed as huge, bulky, and weighty, and the effect enhanced by the clear contrasts of light and darkness.

Picasso experimented again in a variety of types from 1925 to 1936. He created several oil paintings of closely formed geometric forms, limiting his color scheme to primary colours. In the early 1930s, Picasso had increased contact with members of the Surrealist movement and was intrigued by the classic story of the Minotaur. This figure, which has the head of a man and the body of a bull, appears in a study by Picasso on the cover of the Surrealist journal Minotaure (1933, Museum of Modern Art).

Picasso's Spanish artist Pablo Picasso painted Guernica in 1937 in response to the German bombing of the Spanish town of the same name. Francisco Franco, the fascist general who finally defeated the Republican forces in the Spanish Civil War, directed the bombing that decimated the town in the Basque region of north-eastern Spain. He painted in black and white, transfiguring the event according to his fascination with the subject of the bullfight.

Picasso remained a prolific artist until late in his career, although this later era did not gain universal praise from historians or critics. He made variations on motifs that had intrigued him during his career, such as the bullfight and the painter and his model, the latter a theme that celebrated his imagination. He continued to paint portraits and landscapes. Picasso also experimented with ceramics, creating figurines, plates and jugs, blurring the existing distinction between fine art and craft.

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