Hijo de Don Jos Ruiz Blasco y Doa

Hijo de Don José Ruiz Blasco y Doña Maria P. Lopez, Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y a z l e D

a z l e D “El arte es una mentira que nos acerca a la verdad. ” “Art is a lie that drives us close to the truth. ”

Espanha - Málaga a z l e D The most famous, more versatile and the most prolific artist of the 20 th Century – 13, 500 paintings and drawings, 100, 000 engravings, 34, 000 illustrations of books and 300 sculptures and ceramics – was born in this building, in Malaga, at Oct. 25, 1881. Nowadays its 1 st floor houses the museum that exhibits different forms of expression of which Picasso availed from.

1896 – Don José Ruiz Blasco Picasso was raised in a very feminine atmosphere; besides his mother and two sisters, his maternal grandmother and two aunts also lived there. The ambience turned towards education, to conversations and activities proper to women, contributed to develop the characteristic that accompanied him for his whole life: an insatiable curiosity for the opposite sex, for the feminine mystery – that for him would result in permanent erotic connotations. a z l e D Museu Picasso – Barcelona From 1895 to 1899, his father became his favorite model, thus begun his technique of refining and perfecting of his art from the same motive, endlessly repeated. Later, he confesses to Brassi: - "Every time I draw a man, involuntarily is my father whom I think of". . . "For me, man is D. Joseph, and it will remain so for the rest of my life. ”

1890 – El Picador - First of his works preserved His father, naturalist painter and art teacher at San Telmo of Malaga school, was who soon discovered the talent of his son Pablo and begun to give him the first lessons in painting. The Picasso Estate a z l e D Picasso in adulthood commented: - "A curious thing is that I never made child's drawings. I never did, even when I was a very young kid. "

1895 – « La niña de los pies descalzos » Picasso was still 13 years old when he got enchanted with Carmiña. He painted this unconventional portrait of hers, where one can find a proper and astonishing virtuosity. - "The girls of our land are always barefooted and the little girl had its feet covered with chilblains. " The realistic treatment and severity of the subject show the accuracy of the look of a teenager on the human condition - a quality that will reappear at the Blue Period moment. Museu Picasso – Barcelona a z l e D

Barcelona – Cabaré « Els Quatre Gats » Opened in 1897, the Cabaret becomes one of the city’s most renowned places, associating fun and intellectual life, frequented by artists, musicians, writers, poets and rebels of all kinds. This unknown world fascinated Picasso at the time he studied in Barcelona, making this cabaret his favorite place. There, he began solid rooted friendships, such as with Carlos Casagemas, with who, now more secure and aware of himself, decided to venture into Paris. a z l e D

Paris – Moulin de La Galette a z l e D One of the most sought for amusement places of the belle époque, where high society men were mixed with courtesans, criminals and prostitute, has being the subject of paintings by Renoir, Van Gogh and Toulouse Lautrec. It has being also the inspiration of the first painting by Picasso painted in France, when he had not developed its own style.

Paris 1900 – Moulin de La Galette a z l e D Collection of Mr. and Mrs. Justin K. Thannhauser – NY-USA Picasso – in vibrant colors, brighter than any he had ever used, captured the inebriant scenery of fashion with expressionless faces, within a sensual and mysterious atmosphere. His painting is much more exciting and dangerous showing the burning lamps in the darkness and the red lips of women within a framework that is the antithesis to Impressionism.

1901 - early works Self-portrait 'YO Picasso’ – Primavera 1901 Private Collecrion – París - Francia Self-portrait 'YO’ – Verano 1901 Colección Mrs. John Hay Whitney NY-USA a z l e D Yes, it was the death of Casagemas on February 17, 1901 that marked the beginning of the Blue Period, where his feelings of misery and helplessness left him with a blue palette and a heavy heart. He turned to concentrate on himself and his identity, trying to figure out who he was. This focus on Picasso himself is evident in the two self-portraits "Yo Picasso" and "Yo. "

1901 - Evocation (The Burial of Casagemas) By the occasion of his dear friend Casagemas’ suicide, Picasso strove at elaborating an impressive and radical painting that could depict his deep sorrow feelings. In Toledo, it was "the burial of Count Orgaz" by El Greco, that inspired him to conceive a tribute that his friend had never had in life: a celebration in Heavens, caught by a white horse and, instead of angels, prostitutes in black and red stockings in the clouds. Currently, this work is at the Musée d'Art Moderne de la Ville de Paris. a z l e D

Blue Period - 1901 a 1904 – “I paint like others write their biographies. The finished paintings are the pages of my diary " (Picasso) The painting is owned by the Art Institute of Chicago and hangs in the Helen Birch Bartlett Memorial Collection. 1903 – The Old Guitarist The Art Institute of Chicago a z l e D

Blue Period 1903 – La Vie Cleveland Museum of Art - USA a z l e D 1903 – Mujer desnuda con piernas cruzadas Private collection Young and rebellious, Picasso was influenced by Van Gogh’s paintings and, in particular, Toulouse-Lautrec’s. His fascination for the French painter was so intense that the first period of his career in France is known as "Lautrecian”.

1904 - Paris – Bateau-Lavoir – Montmartre Bateau-Lavoir, au n. 13 de la Rue Ravignan (actuellement Place Hodeau) On April 12, 1904, Picasso left Barcelona; it is the fourth and last voyage. He settles in Square Ravignan, 13, a sordid wooden building known as Bateau-Lavoir, which was destroyed by fire in 1970. There, in a stormy day of August 1904, he met Fernande Olivier. She was the first woman to share the life of the painter, to know of his deprivation, and that had the privilege of living with him the exalting years of Cubism. The presence of Fernande is an inspiration to Picasso that is deeply impassioned. He sees her as a sensual and voluptuous image, and the happiness she brings him will appease the torments of the previous years. Picasso returns to life and love. The historical years of Montmartre begin. . . a z l e D

Fernande Olivier a z l e D From 1904 the mood of Picasso – expressed in his paintings of Blue Phase – began to change with the onset of the relationship with Fernande Olivier (23), his first great love. By then the Rose Phase begun. In Picasso's life, women and art were inextricably mixed; the emergence of a new woman often signaled a change of his artistic direction.

1904 – “Lovers” Pen and brown ink on watercolor background with traces of charcoal on paper, the lovers are Fernande and Picasso. In his book "In Bed with Picasso" the author Carlos von Schmidt wrote: "In the watercolor, Fernande's surrender is total. Lying on her back, legs spread, eyes closed, embraces Picasso, keeping him tight against her belly. Maintains her cheek glued to Picasso’s, who plunges his head in Fernande’s black hairs. The right hand of Picasso rests on Fernande’s head. The left rests lightly on her right thigh. In the rounded and curvy hip, Picasso focused all the sensuality and sexuality. Their feet touch each other’s, overlapping, curling up, completing the mutual surrender. Musée Picasso - Paris a z l e D

Rose Period – 1904 - 1906 The Boy with a pipe - “Le a z l e D 1905 - Garçon a la pipe – Colección Mrs. John Hay Whitney – NY – USA Garçon a la pipe” belongs to this phase and is among his most famous paintings. Boy with a Pipe was Picasso’s haunting Rose Period portrait of a youngster called "Little Louis", who used to hang around his studio in Paris. On May 5, 2004 the painting was sold for US$104, 168, 000 at Sotheby's auction in New York City. Sotheby’s did not say who bought the painting. At the time, it broke the record for the amount paid for an auctioned painting (when inflation is ignored).

Rose Period - Au Lapin Agile a z l e D The name of Picasso's favorite bar stemmed from a 1875 painting: a rabbit jumping out of a pot that reads: "Le Lapin à Gill" (“Rabbit Gill’s style”) signed by André Gill - painter caricaturist. This was also a cabaret favorite spot for writers and other artists like Modigliani, Utrillo and Apollinaire.

Rose Period – Au Lapin Agile a z l e D Au Lapin Agile - 1905 - Metropolitan Museum of Arts - NY An icon of life in bohemian Paris at the turn of the century, Frédé, the owner of the cabaret Le Lapin Agile, strums his guitar in the background. Picasso depicts himself dressed as a Harlequin, accompanied by Germaine Pichot, with whom he was involved. Picasso's great friend Casagemas committed suicide in 1901 because his love for Pichot had not been returned. This picture was painted four years later.

Family of acrobats - 1905 a z l e D The Baltimore Museum of Art At this time the circus has become a passion for Picasso, who begun to attend it assiduously. Charles Morice wrote: "Since then he had this amazing certainty trait of trace, of the relationship of colors and of composition that many artists achieve at the end of a long experience. . It is as if, in another lifetime, in a long and productive life, this child of lingering and sure glances had learned everything and, since then and without having to study more, didn’t cease to produce, every day, tirelessly, the drawings, engravings and paintings that cover the walls of his studio. "

1905 – Family of acrobats (The puppeteers) a z l e D The National Gallery of Art - Washington Picasso begins to mean, more than reproducing. The idea that he has of art changed. Art is no longer the world of the transcript; it becomes an end in itself, as evidenced by the ever increasingly acute attention that the painter gives to purely pictorial problem solving. To realist expressionism succeeds plastic serenity. It is possible that his first steps in the field of sculpture with Le Fou have led him to this reflection.

1906 – 1907 - Laboratory of Art - Beginnings of Cubism The painting was started around 1904, and the pose sessions lasted until 1906. Her brother, Leo Stein, a wealthy American with a vocation for a painter, soon identified the talent of Picasso and began the collection of the brothers, what amounted to a kind of patronage to the Spaniard. Unsatisfied and still not finishing the picture, Picasso went for a stay in Catalonia. a z l e D 1906 - Portrait of Gertrude Stein The Metropolitan Museum of Art – NY - USA Back from the city of Gosol, Picasso continued with the portrait of Gertrude Stein, clears the face and turns it into a mask of sharp geometry, extracting from it the essential volumes: eyebrows, eyes, nose, and chin. In his book dedicated to Picasso in 1938, she declared: "I was and still am happy with my picture. To me, that's me. It is the only reproduction of me in which I will always be me. "

Matisse Apolo X Picasso Dionisius a z l e D Barnes Foundation – Merion – PA - USA March 1906 - Matisse and Picasso met in the home of Gertrude Stein. Conversely they identified the progress of each other, and accelerated their creative pace and dispute of power. The period coincided with the exhibition where Matisse exhibited one of his major works – La Bonheur de Vivre (The Joy of Living) ; Picasso got it as a challenge to return a response, what he then did. Thus, Matisse involuntarily helped Picasso to take his place atop the avant-garde.

1906 – 1907 - Laboratory of Art Study for Le Demoiselles d'Avignon a z l e D The Museum of Modern Art - MOMA The painting was conceived with 7 figures that occupied 16 notebooks filled with the respective studies. The deletion of two male characters resulted in a brutal face to face with the prostitutes at which Picasso invites us. We are no longer voyeurs but become clients, remitted to an image of direct and wild sexuality, associated with terror and to death. The revolution, therefore, is not merely formal. It opens itself to a view of the body, the pleasure, and its risks, which will mark the twentieth century. It goes beyond the simple scene of a brothel. The bodies there exposed summarize the different forms of power or aggression they are exposed to: they are, at the same time, the extreme seduction and the sensual and caring allure danger that sex and love represent.

It was then that such studies, started in the fall of 1906, resulted in five women from a brothel at d'Avignon Street in Barcelona. Picasso ruptures with everything that had been done so far. The absence of the curved line, the almost total abandonment of modeling, the geometric fit of plans, the crystallization on a single picture of the different views of a face or a body abolish the traditional perspective and suggest, in a new form, the third dimension. . 1907 - Les Demoiselles d'Avignon a z l e D From this work on Picasso passed to value the concept more than the visual image. There is coincidence with the primitive arts - Cubism is not domesticated by semblances and within it Picasso expresses what he knows of a human being, an object or a landscape, not just what you see of them. The painting seemed something insane to all. Braque said that it seemed as if someone had drunk kerosene to spit fire, and Derain said that one day somebody would find Picasso hanging behind his big picture, such was the desperation that this venture suggested.

Matisse in Picasso’s studio a z l e D Musée National Picasso - Paris Picasso in Matisse’s studio Galería Ernst Beyeler – Basilea - Suiza Although perceiving themselves as rivals, Picasso and Matisse began to meet regularly and review what the other was doing - they understood each other like two titans could, ie, antagonists but needed partners. Mischievously, they exhibited in their homes the most mediocre work of the other. However, at advanced age Picasso declared to Pierre Daix: "Nobody has ever looked at Matisse's paintings more attentively than I, and nobody ever looked at my paintings more attentively than he. "

Paul Cézanne - Quarry Bibémus 1898 - 1900 Cezanne began his career in Impressionism, but soon changed the direction of his studies, concerned in seeking the inner structure of things and not in register the change of color caused by sunlight at various stages of the day. From then began to perceive and depict the objects as geometric shapes (cylinders, cones, spheres) and independent plans, thereby inspiring the early works of Picasso and Braque. a z l e D Museum Folkwang – Essen - DE So, historically, Cubism had been originated in the work of Cezanne. In this respect, Picasso stated: - "Cezanne is my and only single master. I spent years contemplating his pictures. I spent years studying them. "

Analytical Cubism – 1907 - 1912 However, the Cubists went further than Cézanne – they passed to represent the objects with all their parts in the same plane. The first phase of cubism, known as the "Cezannesque Cubism" (1907 -1909), resumes the principle used by Cezanne: the juxtaposition of elements as seen from different viewpoints in order to reconstruct, on a flat surface, the structure of the world abroad, deepening and intellectualizing it. Cubism flattens the plans, plays with transparency, suggests the depth without resorting to illusionistic tradition; suppresses the modeled, the chiaroscuro, and the illusionist color inherited from the Renaissance; deconstructs the volume presenting it simultaneously from different angles - (face, profile, and three-fourths). It is worth noting that in the cubist revolution, Picasso represented the breaking strength, and George Braque, the accuracy of the method. Picasso: - "We never see an object in all dimensions simultaneously. It's a gap in our vision that shall be filled. “ a z l e D Woman Playing the Mandolin - 1909 State Museum of New Western Art, Moscow

Synthetic Cubism – 1912 a 1915 1912 - Still Life with braided chair Musée Picasso – París a z l e D Picasso and Braque insert new elements, letters and numbers of cut blades, and then the collages – pasted papers that allows not only reorganize the frame’s space by creating additional plans, but also for its allusive value, to emphasize the truth of the object and its readability. The use of glued paper, which gives a clear view of the object, leads to the Synthetic Cubism (1912 -1914), which privileges more the essence than the existence of the object. The new approach shows what you know or feel of things and not what you see. This phase, to the contemporaries, results in their inclination to abstraction.

Paris – Olga and Picasso in 1917 a z l e D Picasso and Olga – Paris By the end of World War I – November, 1918 – Picasso married Olga Klokova, ballerina of Diaghilev. The war had finished, but Picasso’s and Olga’s one was just beginning. And it was as devastating. Despite the marital climate, at the time of the birth of his son Paul in 1921 Picasso began to focus on issues of motherhood and children.

“Parade” – 1917 Jean Cocteau proposed to Picasso to make the sets for a ballet, Parade, conceived by him from a music of Erik Satie – who dedicated to Picasso the final play’s Prelude. Picasso’s background for the beginning of the ballet consisted in a representation of popular iconography that could not be more decorative and naive. Although the original idea of Jean Cocteau was simple – a parade of circus artists – Picasso considerably intervened leading the project to evolve to evoke the modern architecture of the New World, both in the other scenarios as in the costumes – everything up to the epoch’s scientific and industrial progress. When writing the note of the program in 1917, the poet Guillaume Apollinaire described Parade as "a kind of surrealism“, thus coining the word three years before surrealism emerged as an art movement in Paris. a z l e D

Neo Classical Period – 1916 a 1924 1921 - Woman and child by the seashore The Art Institute of Chicago a z l e D 1924 Paul dressed as Harlequin Musée Picasso - Paris After working side by side with Georges Braque developing Cubism, they ended a mutual cooperation still during the First World War. After the separation and the birth of his son Paulo, Picasso returned to a more traditional style. At this time he devoted himself to studying the composition of the Renaissance and antiquity. He had also been interested in the work of Ingres, especially on the figures delineated by clear boundaries. Between 1917 and 1924, Picasso designed costumes and decorated many ballets as well. In 1925 he became interested in Surrealism, but did not join it officially.

Surrealism – 1925 - 1936 1925 - The Dance Tate Gallery – London This period was of social ascension on Picasso’s life, with moving to a two-floor apartment near the Champs-Elysees. However, Olga's social aspirations soon begun to prejudice the creation of the artist, eventually launching an impenetrable shadow on their marital relations. In 1925, a framework of great violence appears: La Danse, which emerges from the previous peaceful climate of maternity and portraits of his son Paul. It is a frantic evocation, in which appear the first marks of the cruel deformations of the next decade. Nightmarish creatures, castrating women – which he later identifies to Olga – invade the Picassian space with their agitation until then turned to the former serenity. Picasso throws off the shackles, projecting in the paintings his phantoms, fears and desires, while Olga, possessive, sickly jealous, intemperate, intolerable, is concerned only with money and social projection. a z l e D

Surrealism – 1925 -1936 1931 – The sculptor Musée Picasso – París a z l e D As in his back to classicism, he did not imitate or plagiarize the tradition on need to return to the sources – here he poses the question of transformation of reality, believing, as Plato, that the imitation of nature is futile. The real – no matter the form that the artist attribute to it and even if he seems to adhere to it as much as possible – isn’t it but a subjective view?

Head of a Woman – 1932 Boisgeloup , Plaster This sculpture by Picasso was donated by Jacqueline to the Museum of Modern Art – NY in honor to the Museum’s continuous compromise to the art of Pablo Picasso. a z l e D The Museum of Modern Art - NY © Estate 2010, de Pablo Picasso / Artists Rights Society (ARS), New York

1933 - Bacchic Scene with Minotaur Etching on Montval paper, edition 260 a z l e D The eroticism, passion and sexual violence invade the Picassian iconography. Orgasm becomes a pictorial subject, subjecting bodies to formal jolts almost unbearable. Love, as sentiment and as a moment of sexual union, will be everywhere until his last breath. The turnaround that is observed in Picasso seems to match the slogan launched by André Breton: - "Beauty will be convulsive or will not”. Marital tensions particularly acute in 1928 and 1935, and the meeting with Marie-Therese Walter in 1927 explains in part the insistence of erotic themes in the mid-1930 s.

Dora Maar a z l e D After the disastrous marriage to Olga, Picasso has a happy period by the end of 1935: Marie-Therese Walter gives birth on September 5, to a girl, Maya, blond like her. But pregnancy and motherhood moves away the young woman from her place as lover, and in January 1936, married with Olga and living with Marie-Thérèse, Picasso (54) begins to have a case, that lasted nine years, with the photographer Dora Maar (29 ). The mishaps of his personal life keeps Picasso temporarily out from plastic arts to writing, an activity that he will develop in parallel to painting until 1948.

1936 - Dora and the minotaur - Musée Picasso - Paris a z l e D The Minotaur is a central theme in the works of Picasso. As soon as he finishes this design, the new lovers spend their first holiday together in Moufins. Picasso may be recognized in the triumphant figure of the Minotaur sovereign, half man, half animal embodying his sexual instincts – it symbolizes the power and physical strength, ardor and ambiguity, in an expression that reveals a passion consumed between two beings. This composition coated with exceptional technique in all its features is classified as a masterpiece. "Art is not chaste. It should be prohibited to the ignorant and innocents. If it is chaste it is not art. “Picasso

1937 – War, Art and “Guernica” photo n. 1 by Dora Maar photo n. 3 by Dora Maar a z l e D When he heard that on April 26, 1937 Nazi planes - sent by Hitler to aid Franco – had bombed and razed the Basque town of Guernica, Picasso's reaction was swift, effulgent, epidermal. Began the execution of numerous studies for the work and said: - "In the picture in which I work and which I shall call Guernica, I clearly express my horror at the military caste that made Spain plunge into an ocean of pain and death. “ He painted the huge canvas in about one month (May / June 1937). The stages of evolution of the painting, ended in mid-June, are known thanks to photographs by Dora Maar, taken in the studio of the Rue des Grands Augustins.

1937 – War, Art and “Guernica” Guernica - Museo Reina Sofía. Madrid Guernica, his best known work, was not a representation of war but a "cry", and as so was a z l e D preceded by a Picasso’s own poem, "Cries of children cries of women cries of birds, cries of flowers cries of wood and stone bricks, of chairs, of beds, of furniture, of pans, of cats and papers, a scream that scratches odors of smoke. . . ".

The Picasso Style – 1937 - 1943 At this stage, Picasso consolidates an angle of double view already known in his art since 1920 - the contours are profiles, but the features are also seen from the front, what is impossible in real conditions. He begins to employ this particularity of his artistic vision into pictures in which he combined dissociation with figurative principles. The body parts are dismembered, and in some pictures he transformed the clothes in autonomous visual images. 1937 - Portrait of Dora Maar seated Picasso Museum – París a z l e D

The Picasso Style – 1937 - 1943 1937 - Portrait of Marie-Thérèse Walter 1938 – Maya, her daughter with M. -Thérèse Musée Picasso – París - Francia Private collection. Lucerne - CH a z l e D Marie-Thérèse, Picasso's erotic muse in a romance that lasted seven years, came into his life in 1927; in 1935 gave him his daughter Maya, and in 1977 - four years after Picasso's death - hanged herself. During that period, the unmistakable style of Picasso sedimented, when he begun to follow unknown principles of infantile art: balanced perspective and proportion. These principles are fundamental to figurative art, but with the input of ideas gathered from children's drawings, his options were extended to include the feature of the symbolism of figurative art of children.

After War - 1943 -1953 The postwar years are the ones of joy rediscovering: with Francoise Gilot (22), a new partner whom he met in 1943, the woman-flower, mother of Claude, born in 1947, and Paloma, in 1949, he recovers the serenity. Françoise becomes the new privileged model, goddess of light and fertility. After great passionate moments, Françoise had to live with the weekly Picasso’s visits to Marie-Therese, with Olga’s madness, and Dora Maar’s self-destruction. In 1953, "tired of living with a historical monument, " she packed her bags and departed with the children, leaving a perplexed Picasso. She was the only woman who has shown determination to leave him. In 1964 she published "Life with Picasso - The Love Story of the Decade. " ”. a z l e D

Political Period and War - 1943 -1953 1951 - Massacre in Korea Musée National Picasso - Paris The works of this stage attest his political engagement, but Picasso also painted still life, landscapes and portraits. Concomitantly, inserts the mischievousness of the sculptures. Picasso profits of everything that falls into his hands: a jar, toy cars of his son Claude, a ping pong ball. . . Begins to model fauns, nymphs, owls, pitchers and plates, which he decorates with bullfighting scenes or old motifs, always in bold and daring manner. After these peaceful demonstrations, Picasso enters a new phase - that of "confrontations" with other masters of painting, that will mark several years of his life. a z l e D

Geneviève Laporte – The great secret love Geneviève – 1951 -1953 Geneviève – 2005 It began when the teenager Genevieve Laporte went to interview him for the campus newspaper of the college she attended. Picasso was 63 years old and her was 16. They became friends. Seven years later she visited him again, when the physical relationship was consummated. It was 1951 when began her secret visits to pose clothed, naked, or to surrender themselves into passion, what gave Picasso very good reasons to paint pictures of great sensuality. The secret of their relationship was kept by his secretary and his barber that , Spaniard also, was responsible to protect the pictures from the views of Françoise. In 1953, a misunderstanding was the cause of the end of the romance: - "I will never be more than your brushes”, wisely understood Geneviève. By this occasion, the writer Jean Cocteau said to her: - "You just saved your life. " Years later, she told the Press: - "He was a sweet person, respectful, intelligent and shy. He was not the abominable snowman. " a z l e D

New period - Later Works – 1946 - 1973 a z l e D In 1955, at 74 and officially recent widower of Olga, Picasso settles with Jacqueline Roque (27) in Cannes at the mansion La Californie, with whom he will secretly wed in 1961 and will live, finally, in serenity until death.

a z l e D The Andalusian painter dancing "Sevillanas" for his new love, Jacqueline.

Later Works – 1946 - 1973 1956 - The Studio of 'La Californie' at Cannes – Museo Picasso – Paris a z l e D Some authors interpret the Masters’ exploration phase as a catharsis resulted from the break with Francoise and, especially, of Matisse's death in 54, these are the ones that attribute to the blank screen – that no other hand would ever paint – that occupies the center of the screen "La Californie “ – meaning as a tribute to the absence of Matisse. Some people however interpret that Picasso created this attractive to pinpoint his own creative ingenuity, putting at center stage of the new studio a virgin canvas awaiting for the artist, meaning that Picasso is showing us his power; that he can make a world out of nothing.

Later Works – 1946 - 1973 1656 – Diego Velázquez - Las Meninas 1957 – Las Meninas Museo del Prado - Madrid Museu Picasso - Barcelona a z l e D In Vauvernages, before settling at Chateau de Notre-Dame de Vie in Mougins, Picasso decides to produce variations on the works of great masters: - "I never hesitated to take from other painters what I wanted. What I’m horrified at is to copy myself“. In his work on "Las Meninas" by Velazquez, while simplifying the space, Picasso incorporates cubist data. With his vision and art, Picasso maintains the importance of the king and queen reflected in the mirror, while the figure of the painter appears augmented, dominating the group in detriment also of the Infanta and her maids.

Later Works – 1946 - 1973 The Breakfast on the Grass - Édouard Manet Musée d’Orsay - Paris 1960 - Merenda en el campo – Private collection Probably in 1932, wrote the Master: - "When I see The Breakfast on the Grass, I think about the pain ahead. ". These "pains" will appear in 1959 when Picasso - at Vauvenargues Castle – decides "make himself at the green” and paint his" Dejeuner sur l'herbe ", producing the biggest series of variations in his career with 26 paintings, 140 drawings and numerous lithographs, models, ceramics and sculptures too. - “Ending a thing means to kill it, it means taking his life and soul". Within this approach Picasso understood that it was essential to innovate, creating a new world from the world of other’s Here he achieved to delete the erotic tension created by Manet in the most compromising pose of the History of Art, by removing the direct link between the model eye and the person who looks the picture. a z l e D

Later Works – 1946 - 1973 Left - Picasso at a bullfight in Vallauris, France , together with his wife Jacqueline (left) and Jean Cocteau (right); behind them with a scarf, Picasso's daughter Maya. Right - Four identical pairs of eyes: Picasso, Maya, and two of her’s three sons, Richard and Diana Widmaier Picasso. a z l e D

Later Works – 1946 - 1973 In these years of peace even Lump – his dog – was granted a gift: he won the meals dish painted and signed by his master. a z l e D

Period The Old Savage 1963 - 1973 a z l e D 13. 04. 65 - The sleepers – Galerie Louise Leiris, Paris – "Every time that I had something to say, I’d say it the way I felt to be the correct one. Different motifs require different methods. This does not imply either evolution or progress, but an agreement between the idea that you want to express and the means of expressing it. "

Period The Old Savage 1963 - 1973 1971 - Étreinte - Musée des Beaux-Arts, Montréal Eros and Thanatos - In his twilight years, the odes to pleasure and sensuality infusing all of Picasso's work were born of profound meditations and were produced amid eruptions of Eros, the life breath of art and creation. At this time, Picasso was doing battle with Thanatos (Death) by symbolically exorcising its approach. Picasso, rebelling against the idea that one day his life must end, committed to paper and canvases the life force that remained within him. By expressing his desire, says Jean-Jacques Lebel, Picasso found the courage to face death. To his detractors he replies: – It is only when the painting is not good that it is indecent. ” a z l e D

Later Works – 1946 - 1973 From 1960 to 1973 (the year of his death at age 92), the work is intense: over a thousand prints, drawings and paintings. Only in 1963, He dedicated to Jacqueline nothing less than 163 frames. a z l e D Autoportrait, 30. 06. 1972 - Fuji Television Gallery, Tokyo At 90, overflowing youthful vigor, Picasso said: - "Nobody Will ever know what will be the outcome, but once the drawing begins, comes a story or an idea. I spend hours and hours drawing, watching my creatures and thinking the follies they commit. It's my way of writing fiction. "

Picasso expressed with rare lucidity the tensions of the human being taken by his desires, anxieties, sufferings, and joys. Exceptional as artist and man, Picasso was protagonist and inimitable creator of several streams that have revolutionized the art of the twentieth century, from Cubism to neofigurative sculpture. He worked also with engraving, acquaforte, artisan ceramics and ballets scenography. His work, immense in number, variety and talent, spread along more than seventy -five years of creative activity, that the painter cleverly combined with love, politics, friendship and an exultant and contagious joy of life. His presence has been so outstanding that not infrequently his absence resulted in tragedy: the conquest of serenity at the end of the Master's life also has had a tragic outcome: Jacqueline Roque for whom Picasso was "Sun and God" – did not endured the loneliness and, in deep depression, committed suicide with a shot in the head on October 15, 1986. Picasso e Jacqueline a z l e D

Forever together. . . a z l e D The Vauvenargues Castle (France), acquired by Picasso in September 1958, which also rendered him the feeling of having bought the "Sainte-Victoire Mountain" by Cezanne. Picasso is buried next to Jacqueline in the grounds of the castle in a tomb covered by a circular mound of fresh grass, having as reference only a sculpture of a woman under the vault of mature cedars. . .

“¿ How can you pretend that a spectator live a picture as I have lived it? How can anyone penetrate my dreams, my instincts, my desires, in my thoughts, which have taken so long to be developed and be brought to light, especially to capture what I have put in them, maybe against my will? " Picasso a z l e D

Photo imagery : from Internet, with credits to authors Text : Internet, and books: 1 - Picasso na Oca – copyright 2004 Brasil. Connects Cultura & Ecologia 2 - Picasso – Ingo F. Walther – Taschen 3 - Arte Moderna – Giulio Carlo Argan – Companhia das Letras 4 - Picasso Anos de Guerra 1937 -1945 – MASP Music: Bizet – Carmen – Entr’Acte II and Prelude Creation, research, compilation and formatting : Delza Dias delzadfer@gmail. com English version: Flavio Musa de Freitas Guimarães Collaborator: Claudia Ricci a z l e D Brazil – São Paulo – X - 2010 http: //culturesandart. blogspot. com Ferreira

The end a z l e D