Picasso. The Sacred and the Profane


Book Description

Pablo Picasso?s implacable intention to constantly reinvent his art and take it beyond the limits of his own time expressed itself in both his non-conformist, innovative spirit and his desire to devour and reinterpret works of the past. The exhibition Picasso. The Sacred and the Profane focuses on the audacity and originality with which the artist approached both the classical world and themes from the Judeo-Christian tradition, revealing his ability to incorporate elements and themes from earlier art into his own output and to reflect on the ultimate essence of painting. At times traumatic and existential and at others dynamic and optimistic, Picasso looked at the art of the past and showed us new ways of interpreting history, while with his farsighted vision he continues to offer us fundamental clues to the uncertain contemporary world.0This publication, capturing and published on the occasion of the exhibition of the same title, includes around 30 paintings: the works by Picasso from the museum?s collection and various loans from the Musée national Picasso-Paris and other collections and institutions will establish dialogues with paintings by El Greco, Rubens, Zurbarán, Van der Hamen, Delacroix and Goya. The first section shows how Picasso assimilated the tradition of portraiture and religious imagery, transforming it into a veritable catalogue of promiscuous and profane characters. The second section looks at more intimate, domestic subjects with still lifes and mother and child compositions. A third part contrasts the traditional theme of the Passion with scenes of violence and sacrifice through Crucifixions, bullfights and the dramatic women depicted by the artist in the 1930s.00Exhibition: Thyssen-Bornemisza Museo Nacional, Madrid, Spain (04.10.2023-14.01.2024).




The Religious Art of Pablo Picasso


Book Description

This is the first critical examination of Pablo Picasso's use of religious imagery and the religious import of many of his works with secular subject matter. Though Picasso was an avowed atheist, his work employs spiritual themesÑand, often, traditional religious iconography. In five engagingly written, accessible chapters, Jane Daggett Dillenberger and John Handley address Picasso's cryptic 1930 painting of the Crucifixion; the artist's early life in the Catholic church; elements of transcendence in Guernica; Picasso's later, fraught relationship with the church, which commissioned him in the 1950s to paint murals for the Temple of Peace chapel in France; and the centrality of religious themes and imagery in bullfighting, the subject of countless Picasso drawings and paintings.




Picasso and the Mysteries of Life


Book Description

Offers a highly focused examination of La Vie, accompanied by a more expansive reading of its meaning.




Picasso


Book Description

A study of Picasso's depictions of the artist's studio in paintings, drawings and prints throughout his career, showing how he found there a profound expression of the creative focus. Most of the book analyzes relevant paintings and drawings, and there is an essay on the painting "La Vie."




Picasso: A Biography


Book Description

"The best biography of Picasso."--Kenneth Clark




Picasso and the Painting That Shocked the World


Book Description

One of The Christian Science Monitor’s Best Nonfiction Books of 2018 “An engrossing read…a historically and psychologically rich account of the young Picasso and his coteries in Barcelona and Paris” (The Washington Post) and how he achieved his breakthrough and revolutionized modern art through his masterpiece, Les Demoiselles d’Avignon. In 1900, eighteen-year-old Pablo Picasso journeyed from Barcelona to Paris, the glittering capital of the art world. For the next several years he endured poverty and neglect before emerging as the leader of a bohemian band of painters, sculptors, and poets. Here he met his first true love and enjoyed his first taste of fame. Decades later Picasso would look back on these years as the happiest of his long life. Recognition came first from the avant-garde, then from daring collectors like Leo and Gertrude Stein. In 1907, Picasso began the vast, disturbing masterpiece known as Les Demoiselles d’Avignon. Inspired by the painting of Paul Cézanne and the inventions of African and tribal sculpture, Picasso created a work that captured the disorienting experience of modernity itself. The painting proved so shocking that even his friends assumed he’d gone mad, but over the months and years it exerted an ever greater fascination on the most advanced painters and sculptors, ultimately laying the foundation for the most innovative century in the history of art. In Picasso and the Painting That Shocked the World, Miles J. Unger “combines the personal story of Picasso’s early years in Paris—his friendships, his romances, his great ambition, his fears—with the larger story of modernism and the avant-garde” (The Christian Science Monitor). This is the story of an artistic genius with a singular creative gift. It is “riveting…This engrossing book chronicles with precision and enthusiasm a painting with lasting impact in today’s art world” (Publishers Weekly, starred review), all of it played out against the backdrop of the world’s most captivating city.




A Life of Picasso: 1907-1917


Book Description

A three-volume study of the life and work of Pablo Picasso captures the artist from his early life in Málaga and Barcelona, through his revolutionary Cubist period, to the height of his talent in prewar Europe.




A Life of Picasso II: The Cubist Rebel


Book Description

In the second volume of his Life of Picasso, Richardson reveals the young Picasso in the Baudelairean role of “the painter of modern life.” Never before have Picasso’s revolutionary vision, technical versatility, prodigious achievements, and, not least, his sardonic humor been analyzed with such clarity. Hence his great breakthrough painting, Les Demoiselles d’Avignon, with which this book opens. As well as portraying Picasso as a revolutionary, Richardson analyzes the more compassionate side of his genius. The misogynist of posthumous legend turns out to have been surprisingly vulnerable—more often sinned against than sinning. Heartbroken at the death of his mistress Eva, Picasso tried desperately to find a wife. Richardson recounts the untold story of how his two great loves of 1915–17 successively turned him down. These disappointments, as well as his horror at the outbreak of World War I and the wounds it inflicted on his closest friends, Braque and Apollinaire, shadowed his painting and drove him off to work for the Ballets Russes in Rome and Naples—back to the ancient world. In this volume we see the artist’s life and work during the crucial decade of 1907–17, a period during which Picasso and Georges Braque devised what has come to be known as cubism and in doing so engendered modernism. Thanks to the author’s friendship with Picasso and some of the women in his life, as well as Braque and their dealer, D. H. Kahnweiler, and other associates, he has had access to untapped sources and unpublished material. In The Cubist Rebel, Richardson also introduces us to key figures in Picasso’s life who have been totally overlooked by previous biographers. Among these are the artist’s Chilean patron, collector, and mother figure, Eugenia Errázuriz, as well as two fiancées: the loveable Geneviève Laporte and the promiscuous bisexual painter Irène Lagut. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing fresh light to bear on the artist’s private life, he has succeeded in coming up with a new view of this paradoxical man and of his paradoxical work. Never before have Picasso’s revolutionary vision, technical versatility, prodigious achievements, and, not least, his sardonic humor been analyzed with such clarity.




A Life of Picasso Volume II


Book Description

John Richardson draws on the same combination of lively writing, critical astuteness, exhaustive research, and personal experience which made a bestseller out of the first volume and vividly recreates the artist's life and work during the crucial decade of 1907-17 - a period during which Pablo Picasso and Georges Braque invented Cubism and to that extent engendered modernism. Richardson has had unique access to untapped sources and unpublished material. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing a fresh light to bear on the artist's often too sensationalised private life, he has succeeded in coming up with a totally new view of this paradoxical man of his paradoxical work. Never before has Picasso's prodigious technique, his incisive vision and not least his sardonic humour been analysed with such clarity.




Sacred Monsters, Sacred Masters


Book Description

SACRED MONSTER, SACRED MASTERS is a gallery of profiles of some of the most curious and creative figures that John Richardson has encountered during a career of more than fifty years. The subjects range from the monstrous art collector, Dr Barnes of Philadelphia to Peggy Guggenheim, Cecil Beaton, the Sitwells, Dali and such contemporary figures as the painters Brice Marden and Lucian Freud. John Richardson's reputation was established internationally with the publication of the first volumes of his monumental biography of Picasso, described by Robert huges as "the most Illuminating biography yet written on a twentieth- century artist". With two further volumes in preparation, Richardson has devoted his life to study of the great painter, who befriended him in Provence in the fifties. The acclaim that greeted Pichard's Picasso Biography was based on his authority as a witness and his superb narrative skill. In SACRED MONSTER, SACRED MASTERS , as in his recent memoir THE SORCERER'S APPRENTICE, Richardson comes from out of of the shadow of Picasso to describe a wider cast of writers, artists and eccentrics. This collection is a portrait of a vanished age of which Richardson may be one of the last observers, and in some cases he is consciously saving his subjects' reputation from oblivion. In other cases, artists as celebrated as Warhol, Lucian Freud and Braque are described with an intimate knowledge of their working processes. He knows their world and speaks with the authority of one who understands it. his portraits are always insightful, often poignant and sometimes scabrous. Richardson, like Truman Capote, one of his subjects, is the supreme raconteur. The wit is both barbed and revealing. His ability to present us with sharply etched close- ups of those who are usually observed from afar has no precedent in the artistic records of the last century.