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Pablo Picasso 1881-1973

Pablo Picasso 1881-1973. Picasso, Portrait of Gertrude Stein, 1905-1906. Pablo Picasso, Les Demoiselles d ’ Avignon , June- July 1907. (8 x 7.8 ft ). Picasso, Study for Demoiselles d ’ Avignon , 1907. Picasso, Demoiselles d ’ Avignon , 1907. Left: Edouard Manet , Olympia , 1863.

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Pablo Picasso 1881-1973

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  1. Pablo Picasso 1881-1973

  2. Picasso, Portrait of Gertrude Stein, 1905-1906.

  3. Pablo Picasso, Les Demoiselles d’Avignon, June-July1907. (8 x 7.8 ft)

  4. Picasso, Study for Demoiselles d’Avignon, 1907.Picasso, Demoiselles d’Avignon, 1907.

  5. Left: EdouardManet, Olympia, 1863. Right: Picasso, Demoiselles d’Avignon, 1907.

  6. Picasso, Demoiselles d’Avignon, 1907 (detail)Mask, Etoumbi region, People’s Republic of Congo. Wood, 14” high

  7. Left: Mbuya(sickness) mask, Zaire. Painted wood, fiber, and cloth, 10.5” high. Right: Picasso, Demoiselles d’Avignon, 1907 (detail)

  8. Cubism: 1908-1912

  9. “I do not read English, an English book is a blank book to me. This does not mean that the English language does not exist, and why should I blame anybody else but myself if I cannot understand what I know nothing about?” — Pablo Picasso, 1923 Picasso, Ma Jolie, winter 1911-12

  10. Paul Cézanne, Quartier Four, Auvers-sur-Oise, ca. 1873.

  11. Left: Cézanne, Quartier Four, Auvers-sur-Oise, ca. 1873.Right: Picasso, Houses on the Hill, Horta de Ebro, summer 1909.

  12. Left: Paul Cézanne, Gardanne, 1885-86.Right: Picasso, Ma Jolie, winter 1911-12.

  13. “Years of research proved that closed form did not permit an expression sufficient for the two artists’ aims. Closed form accepts objects as contained by their own surfaces, viz. the skin; it then endeavors to represent this closed body, and, since no object is visible without light, to paint this ‘skin’ as the contact point between the body and light where both merge into color.” — Daniel-Henry Kahnweiler, 1920 Picasso, Portrait of Ambroise Vollard, 1909-1910.

  14. “At the same time Braque made an important discovery. In one of his pictures he painted a completely naturalistic nail casting its shadow on the wall.” —Daniel-Henry Kahnweiler, 1920 Left: Georges Braque, Violin and Palette, [autumn] 1909. Right: Georges Braque, Pitcher and Violin, 1909-1910 (or early 1910).

  15. Left: Pablo Picasso, Ma Jolie, 1911-12.Right: Georges Braque, The Portugais, [autumn-winter] 1911-12.

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