Pablo
Picasso
Málaga,
Spain 1881 - Mougins, France 1973
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It seems
that painting was the only relic of days gone by, because nothing
else that used to give him satisfaction was still at his disposal
- nothing except his art, under the guise of the painter-and-model
theme. Picasso gave a personal justification for his indefatigable
creativity: the picture was meant to prove that he was still alive
... Both artists (Picasso and Rembrandt) began to turn in on
themselves, concentrate on the theme "the artist" and paint
only themselves; both developed a tendency towards psychological introspection
in their self-portraits, and both withdrew into an artificial but
unpretentious world.
(Walther 1993, 88) |
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October 23, 1969 114 x 146 cm
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"Bull"
The Sketchbooks of Picasso ed. Arnold and Marc Glimcher (New York: Atlantic Monthly Press, 1986) p. 242. |
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1973:
"'Finish a work! Complete a picture? How absurd,' he once said
to a friend. 'To finish an object means to finish it, to destroy
it, to rob it of its soul, to give to it the "puntilla" as to the
bull in the ring.' But in spite of his insatiable ability to vary
his style, each painting is closely linked to those coming before
and after in such a way that although they exist in their own right
they also form part of a group like separate scores in the orchestration
of a symphony". |
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Arles: el ruedo delante del Ródano 1960 80 x 100 cm
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Hombre sentado con pipa 1969 A leo sobre lienzo 160 x 130 cm |
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Bust of a man oil on corrugated cardboard March 5 1969 6.5 x 65 cm |
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Picasso was
indeed a liquidator, a liquidator of privilege and prejudice, of European
provincialism, of Euro-centric attitudes which the twentieth century
has rightly sought to demolish. In return Picasso has given us back
our roots, our pre-classical origins. By this we mean contact with
the art of mankind from the very earliest times; art in the sense
of the man's basic dialogue with the world around him and with all
mankind. http://www.tamu.edu/mocl/picasso/tour/t80.html |