Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso[a][b] (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor,printmaker,ceramicist, andtheatre designer who spent most of his adult life inFrance. One of the most influential artists of the 20th century, he is known for co-founding theCubist movement, the invention ofconstructed sculpture,[8][9] the co-invention ofcollage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are theproto-CubistLes Demoiselles d'Avignon (1907) and the anti-war paintingGuernica (1937), a dramatic portrayal of thebombing of Guernica by German and Italian air forces during theSpanish Civil War.
Beginning his formal training under his fatherJosé 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, theFauvist work of the older artistHenri 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 ofmodern 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 theBlue Period (1901–1904), theRose Period (1904–1906), theAfrican-influenced Period (1907–1909), AnalyticCubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as theCrystal period. Much of Picasso's work of the late 1910s and early 1920s is in aneoclassical style, and his work in the mid-1920s often has characteristics ofSurrealism. 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 in20th-century art.
Early life
Picasso with his sister Lola, 1889
Picasso was born at 23:15 on 25 October 1881, in the city ofMálaga, Andalusia, in southern Spain.[5] He was the first child ofJosé 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 acurator 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.[b][c]Ruiz y Picasso were his paternal and maternal surnames, respectively, per Spanish custom. The surname "Picasso" comes fromLiguria, 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 oflápiz, 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 toA 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 ofdiphtheria.[21] After her death, the family moved toBarcelona, 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'sReal 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. ThePrado housed paintings byDiego Velázquez,Francisco Goya, andFrancisco de Zurbarán. Picasso especially admired the works ofEl Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso's later work.[24]
Picasso's training under his father began before 1890. His progress can be traced in the collection of early works now held by theMuseu Picasso inBarcelona, 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 inThe First Communion (1896), a large composition that depicts his sister, Lola. In the same year, at the age of 14, he paintedPortrait of Aunt Pepa, a vigorous and dramatic portrait thatJuan-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 aSymbolist 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 ofRossetti,Steinlen,Toulouse-Lautrec andEdvard Munch, combined with his admiration for favourite old masters such asEl Greco, led Picasso to a personal version of modernism in his works of this period.[28]
Picasso made his first trip toParis, then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poetMax 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 inMadrid, where he and hisanarchist friend Francisco de Asís Soler founded the magazineArte 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 workPicasso.[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]
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 betweenBarcelona 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 friendCarles Casagemas. Starting in autumn of 1901, he painted several posthumous portraits of Casagemas culminating in the gloomy allegorical paintingLa Vie (1903), now in theCleveland Museum of Art.[32]
The same mood pervades the well-known etchingThe 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 inThe Blindman's Meal (1903, theMetropolitan Museum of Art) and in the portrait ofCelestina (1903). Other Blue Period works includePortrait of Soler andPortrait of Suzanne Bloch.
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 andharlequins known in France as saltimbanques. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso. Picasso metFernande Olivier, abohemian 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 collectorsLeo andGertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted aportrait of Gertrude Stein and one of her nephewAllan Stein. Gertrude Stein became Picasso's principal patron, acquiring his drawings and paintings and exhibiting them in her informalSalon at her home in Paris.[36] At one of her gatherings in 1905, he metHenri Matisse, who was to become a lifelong friend and rival. The Steins introduced him toClaribel 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 byDaniel-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 theCubism that they jointly developed. Kahnweiler promoted burgeoning artists such asAndré 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 inMontparnasse at the time.[38]
Picasso's African-influenced Period (1907–1909) begins with his paintingLes Demoiselles d'Avignon. The three figures on the left were inspired byIberian 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 atPalais 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 exhibitLes Demoiselles publicly until 1916.
Other works from this period includeNude with Raised Arms (1907) andThree Women (1908). Formal ideas developed during this period lead directly into the Cubist period that follows.[41]Analyticcubism (1909–1912) is a style of painting Picasso developed withGeorges 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 theMontmartre andMontparnasse quarters, includingAndré Breton, poetGuillaume Apollinaire, writerAlfred Jarry andGertrude Stein. In 1911, Picasso was arrested and questioned aboutthe theft of theMona Lisa from theLouvre. 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]
Picasso in front of his paintingThe Aficionado (Kunstmuseum Basel) at Villa les Clochettes, summer 1912
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 cubistcollage and simultaneously what is often considered to be the firstassemblage, with his creation of the seminal workStill Life with Chair Caning (1912; oil and printedoilcloth on canvas edged withrope).[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 historianJohn Richardson, "these gems do not always have upside or downside".[47][48] "We need a new name to designate them," wrote Picasso toGertrude 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-calledreturn to order following the war.[47][49]
After acquiring some fame and fortune, Picasso left Olivier for Marcelle Humbert, also known asEva 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 ofWorld War I in August 1914, Picasso was living inAvignon. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the SpaniardJuan 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 dealerLéonce Rosenberg. After the loss of Eva Gouel, Picasso had an affair withGaby 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]
Costume design by Pablo Picasso representing skyscrapers and boulevards, forSerge Diaghilev'sBallets Russes performance ofParade at Théâtre du Châtelet, Paris 18 May 1917
Towards the end of World War I, Picasso became involved withSerge Diaghilev'sBallets Russes. Among his friends during this period wereJean Cocteau,Jean Hugo, Juan Gris, and others.[53] In the summer of 1918, Picasso marriedOlga Khokhlova, a ballerina with Sergei Diaghilev's troupe, for whom Picasso was designing a ballet, Erik Satie'sParade, in Rome; they spent their honeymoon nearBiarritz in the villa of glamorous Chilean art patronEugenia 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'sbohemian tendencies and the two lived in a state of constant conflict. During the same period that Picasso collaborated with Diaghilev's troupe, he andIgor Stravinsky collaborated onPulcinella 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 ofFontainebleau, France; during their time there, Picasso, using the garage as a studio, paintedThree Women at the Spring andThree Musicians.[57][58]
1909–10,Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm (36 × 28 in),Tate Modern, London. This painting from the collection ofWilhelm Uhde was confiscated by the French state and sold at theHôtel Drouot in 1921.
1910,Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 × 60 cm (28 × 23 in), Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913
1911,Still Life with a Bottle of Rum, oil on canvas, 61.3 × 50.5 cm (24 × 19 in),Metropolitan Museum of Art, New York
1911,The Poet (Le poète), oil on linen, 131.2 × 89.5 cm (51 5/8 × 35 1/4 in), The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice
1911–12,Violon (Violin), oil on canvas, 100 × 73 cm (39 × 28 in) (oval), Kröller-Müller Museum, Otterlo, Netherlands. This painting from the collection ofWilhelm Uhde was confiscated by the French state and sold at theHôtel Drouot in 1921.
1913,Bouteille, clarinet, violon, journal, verre, 55 × 45 cm (21 × 17 in). This painting from the collection ofWilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921.
1913,Femme assise dans un fauteuil (Eva), Woman in a Chemise in an Armchair, oil on canvas, 149.9 × 99.4 cm (59 × 39 in), Leonard A. Lauder Cubist Collection,Metropolitan Museum of Art
1913–14,Head (Tête), cut and pasted coloured paper, gouache and charcoal on paperboard, 43.5 × 33 cm (17 × 12.9 in),Scottish National Gallery of Modern Art, Edinburgh
1913–14,L'Homme aux cartes (Card Player), oil on canvas, 108 × 89.5 cm (42 × 35 in),Museum of Modern Art, New York
1914–15,Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 63.5 × 78.7 cm (25 × 31 in),Columbus Museum of Art, Ohio
1916,L'anis del mono (Bottle of Anis del Mono), oil on canvas, 46 × 54.6 cm (18 × 21 in),Detroit Institute of Arts, Michigan
Parade, 1917, curtain designed for the balletParade. The work is the largest of Picasso's paintings.Centre Pompidou-Metz, Metz, France, May 2012
Neoclassicism and surrealism: 1919–1929
Pablo Picasso, 1921,Nu assis s'essuyant le pied (Seated Nude Drying her Foot), pastel, 66 × 50.8 cm,Berggruen Museum
In 1925 theSurrealist writer and poetAndré Breton declared Picasso as "one of ours" in his articleLe Surréalisme et la peinture, published inRévolution 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 theManifeste 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-oldMarie-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]
Pablo Picasso, 1918,Pierrot, oil on canvas, 92.7 × 73 cm,Museum of Modern Art, New York
Pablo Picasso, 1918,Portrait d'Olga dans un fauteuil (Olga in an Armchair),Musée Picasso, Paris, France
Pablo Picasso, 1919,Sleeping Peasants, gouache, watercolour and pencil on paper, 31.1 × 48.9 cm,Museum of Modern Art
The Great Depression,Guernica, and the MoMA exhibition: 1930–1939
During the 1930s, theminotaur replaced theharlequin 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'sGuernica. The minotaur and Picasso's mistressMarie-Thérèse Walter are heavily featured in his celebratedVollard Suite of etchings.[64]
Arguably Picasso's most famous work is his depiction of the Germanbombing of Guernica during theSpanish 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 theParis International Exposition, and then became the centrepiece of an exhibition of 118 works by Picasso,Matisse,Braque andHenri 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]
BeforeGuernica, 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 andsurrealist photographer,Dora Maar.[68] In addition, her black and white photographs are likely to have influenced the black and white scheme ofGuernica, 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 ofGuernica.[69] At Picasso's request, Maar painted parts of the dying horse.[69]
In 1939 and 1940, theMuseum of Modern Art in New York City, under its directorAlfred 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 ofGuernica ... 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 inARTnews concluded that Picasso was both charlatan and genius.[71]
World War II and late 1940s: 1939–1949
Stanisław Lorentz guides Picasso through theNational Museum in Warsaw in Poland during the exhibitionContemporary French Painters and Pablo Picasso's Ceramics, 1948. Picasso gave Warsaw's museum over a dozen of his ceramics, drawings, and colour prints.[72]Scene from theDegenerate art auction, spring 1938, published in a Swiss newspaper. Works by Picasso,Head of a Woman (lot 117),Two Harlequins (lot 115).[73]
DuringWorld War II, Picasso remained in Paris while the Germans occupied the city. Picasso's artistic style did not fit theNazi 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 theGestapo. During one search of his apartment, an officer saw a photograph of the paintingGuernica. "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 theStill Life with Guitar (1942) andThe Charnel House (1944–48). Although the Germans outlawedbronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by theFrench Resistance.[76]
In 1944, after the liberation of Paris, Picasso, then 63 years old, began a romantic relationship with a young art student namedFrançoise Gilot. She was 40 years younger than he was. Picasso grew tired of his mistressDora Maar; Picasso and Gilot began to live together. Eventually, they had two children:Claude Picasso, born in 1947 andPaloma Picasso, born in 1949.
Picasso photographed in 1953 byPaolo Monti during an exhibition atPalazzo Reale in Milan (Fondo Paolo Monti,BEIC)
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 withGeneviève 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.
By this time, Picasso had constructed a hugeGothic home, and could afford large villas in the south of France, such as Mas Notre-Dame-de-Vie on the outskirts ofMougins, and in theProvence-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 metJacqueline Roque, who worked at the Madoura Pottery inVallauris on theFrench 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]
He was commissioned to make amaquette for a huge 50-foot-high (15 m)public sculpture to be built in Chicago, known usually as theChicago 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 anAfghan 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 fromabstract expressionism, did the critical community come to see the late works of Picasso as prefiguringNeo-Expressionism.[84]
In the spring of 1973, Picasso assisted in putting together 201 of his paintings for theAvignon Arts Festival, which opened at thePalais 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 inMougins, France, from aheart attack brought on bypulmonary 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 theChâteau of Vauvenargues nearAix-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
Pablo Picasso, 1901,Old Woman (Woman with Gloves), oil on cardboard, 67 × 52.1 cm,Philadelphia Museum of Art
Pablo Picasso, 1901–02,Femme au café (Absinthe Drinker), oil on canvas, 73 × 54 cm,Hermitage Museum
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, thecatalogue raisonné compiled byChristian 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 artistBob 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. Ananoprobe of Picasso'sThe Red Armchair (1931), in the collection of theArt Institute of Chicago, by physicists atArgonne 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 isGuitar (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]
Pablo Picasso, 1921,Three Musicians, oil on canvas, 200.7 × 222.9 cm,Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund
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 thepointillistWoman with a Mantilla, the CubistFigure in an Armchair, and the naturalisticHarlequin (all in theMuseu 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 compositionThree 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 theCasón del Buen Retiro of theMuseo del Prado. In 1992, the painting was put on display in theReina Sofía Museum when it opened.[109]
Picasso painted mostly from imagination or memory. According toWilliam 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 criticArthur 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 hisNeoclassical period. His relationship with Marie-Thérèse Walter inspired many of hissurrealist 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 ofFernande Olivier in his life.[113]
Catalogue raisonné
Picasso entrustedChristian Zervos to constitute thecatalogue 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 nameCahiers 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
Picasso has been characterized as a womaniser and a misogynist, being quoted as saying to his longtime partnerFrançoise 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:
Maya (5 September 1935 – 20 December 2022, Maria de la Concepcion Picasso) – his daughter withMarie-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-Thèrése Walter gave birth to their daughter Maya in 1935, he secretly placed them in an apartment at 44 rue de La Boétie in the8th arrondissement, which was across from his residence with his wife Olga at number 23.[124] In 1937, Marie-Thèrése and Maya were sent toLe Tremblay-sur-Mauldre.[124] Maya was 10 years old when she learned that she had an older brother, Paulo.[124]
Photographer and painterDora 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 ofGuernica.[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 bookLife 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 withThe Times:
He was astonishingly creative, so intelligent and seductive. If he was in the mood to charm, even stones would dance to his tune. But he was also cruel, sadistic and merciless to others as well as to himself. Everything had to be his way. You were there for him; he was not there for you. Pablo thought he was God, but he was not God — and that annoyed him! ... Pablo was the greatest love of my life, but you had to take steps to protect yourself. I did. I left before I was destroyed. The others didn't, they clung on to the mightyMinotaur and paid a heavy price.[127]
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]
Picasso remained aloof from theCatalan 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 duringWorld War I, theSpanish 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 overtlypolitical work. He expressed anger and condemnation ofFrancisco Franco and fascists inThe 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 theSpanish Republican cause.[133][134]
In 1944, Picasso joined theFrench Communist Party. He attended the 1948World Congress of Intellectuals in Defense of Peace in Poland, and in 1950 received theStalin Peace Prize from the Soviet government.[135] A portrait ofJoseph 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 ofKarl Marx, nor ofEngels 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 amongcontinental intellectuals and artists at the time, has long been the subject of some controversy; a notable demonstration thereof was a quote bySalvador Dalí (with whom Picasso had a rather strained relationship[137]):
Picasso es pintor, yo también; ... Picasso es español, yo también; Picasso es comunista, yo tampoco.
(Picasso is a painter, so am I; ... Picasso is a Spaniard, so am I; Picasso is a communist, neither am I.)[138][139][140]
In the late 1940s, his old friend surrealist poetAndré Breton, who was aTrotskyist andanti-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 theUnited Nations and the United States in theKorean War, and depicted it inMassacre 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 createdDove, a black and white lithograph. It was used to illustrate a poster at the 1949World 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 theLenin Peace Prize.[147] Biographer and art criticJohn Berger felt his talents as an artist were "wasted" by the communists.[148] According toJean 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
Postage stamp, USSR, 1973. Picasso has been honoured on stamps worldwide.
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'sMuseum 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 theLouvre 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. ... ThoughMarcel 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]
In the 1940s, a Swiss insurance company based inBasel 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 theKunstmuseum Basel. In 1968, a large number of Basel citizens called for a local referendum on the purchase of the Picassos by theCanton 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]
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 asHenri 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 theMusée Picasso in Paris.[155]
In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Málaga, Spain, theMuseo Picasso Málaga.[156]
TheMuseu 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 inBuitrago del Lozoya by Picasso's friend Eugenio Arias Herranz.[159]
It was announced on 22 September 2020 that the project for a new Picasso Museum due to open inAix-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.[162]
Picasso Museum in Buitrago
As of 2015[update], Picasso remained the top-ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.[163] More of his paintings have been stolen than those of any other artist;[164] in 2012, theArt Loss Register had 1,147 of his works listed as stolen.[165]
Street art portrait (Barcelona, 2023)
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.[166]
The Picasso Administration also manages the Picasso estate.[97] The US copyright representative for the Picasso Administration is theArtists Rights Society.[167]
On 21 June 2016, a painting by Pablo Picasso titledFemme 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.[171][172]
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 1939Femme 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.[173]
In the 1996 movieSurviving Picasso, Picasso is portrayed by actorAnthony Hopkins.[175] Picasso is also a character inSteve Martin's 1993 play,Picasso at the Lapin Agile. InA Moveable Feast byErnest Hemingway, Hemingway tellsGertrude 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 toYoung Naked Girl with Flower Basket.
^abIn thisSpanish 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 bornPablo Diego José Francisco de Paula Juan Nepomuceno Cipriano de la Santísima Trinidad Ruiz Picasso.[5] According to the record of his baptism, he was namedPablo 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 thetwin 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]
^Hamilton, George H. (1976). "Picasso, Pablo Ruiz Y". In William D. Halsey (ed.).Collier's Encyclopedia. Vol. 19. New York: Macmillan Educational Corporation. pp. 25–26.
^Cox, Neil (2010).The Picasso Book. Tate Publishing. p. 124.ISBN978-1-85437-843-9.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'.
^Letter from Juan Gris to Maurice Raynal, 23 May 1917, Kahnweiler-Gris 1956, 18.
^abGreen, Christopher,Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–1928, Yale University Press, New Haven and London, 1987, pp. 13–47.
^Berggruen, Olivier (2018). "Stravinsky and Picasso: Elective Affinities". In Berggruen, Olivier (ed.).Picasso: Between Cubism and Neoclassicism, 1915–1925. Milan: Skira.ISBN978-88-572-3693-3.
^The MoMA retrospective of 1939–40 – seeMichael C. FitzGerald,Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art (New York: Farrar, Straus and Giroux, 1995; Berkeley: University of California Press, 1996), pp. 243–262.
^Filler, Martin (11 June 2009). "The Late Show".The New York Review of Books56 (10): 28–29.
^Martin Filler says "the new constituency for late Picasso had much to do with new directions in avant-garde painting since his death, which made many people look quite differently at this startling final output." "The Late Show".The New York Review of Books56 (10): 28–29.
^Keen, Kirsten Hoving. "Picasso's Communist Interlude: The Murals of War and Peace".The Burlington Magazine, Vol. 122, No. 928, Special Issue Devoted to Twentieth Century Art, July 1980. p. 464.
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