5 7.12.2007 baraniewski powzechna.pdf

KUBIZM

PABLO PICASSO

BRAK WSTĘPU!!!

- Picasso w momencie, kiedy w 1904 osiada na

stałe w Paryżu, ma już ugruntowaną pozycję,

jest już rozpoznawalnym w Paryżu artystą:

przede wszystkim jego symboliczno-

egzystencjalne płótna

Pablo Picasso | Kuglarze | 1904:

– maniera eleganckiego malarstwa

przepełnionego symbolicznymi treściami

– Obrazy z lat 1904 – 1905 ugruntowały

pozycję Picassa w tym środowisku jako

jednego z najbardziej wziętych artystów. W

obliczu tego wielkiego sukcesu

komercyjnego, w 1906 następuje niezwykła

przemiana w twórczości Picassa, która

zaskakuje całkowitym odrzuceniem

dotychczasowej maniery malarskiej. Do tej

pory obrazy były bardzo wystudiowane,

natomiast w 1906 rozstaje się z tym, co

gwarantowało mu sukces. Podejmuje

eksperymenty dotyczące fundamentalnych

kwestii malarskich.

"This large composition required a long period of preparation. It was Picasso's main work of 1905, and marks a transition to

his Rose Period. The gloomy images of human misery have given way to paintings in which pale rose is the dominant tonality,

and the life of circus performers is the theme. Picasso at this time lived not very far from the Paris circus, and it deeply

impressed him. The segregation, the loneliness, the gentleness of these people disclosed new aspects of human society to

him. Picasso's paintings of 1905 turn away from social pessimism-their dominant color suggests a lyrical, personal sadness

rather than pessimistic despair. The figures exhibit a certain life in common, though the psychological relationships are not

clear. As it was in La Vie, the unity of the composition lies in the emotional content more than in the legible details. The over-

all sense of restraint is more striking here than in the earlier work: it is accentuated by the fact that the two figures closest

to the viewer are seen from the back. The colors, which range from terracotta pink and ocher to gray and bright blue,

suggest the same restraint. The color effects are everywhere subdued, reduced to a discreet, unobtrusive harmony. The

drawing and the colors endow this painting with a quiet, oddly elegiac charm. The mood of this work inspired the opening

lines of Rainer Maria Rilke's fifth Duino Elegy: 'But tell me, who are they, these travellers, even a little / morefleeting than we

ourselves,so urgently, ever since childhood / wrung by an (oh, for the sake of whom?) / never-contented will? That keeps

on wringing them, bending them, slinging them, swinging them, / throwing them and catching them back: as thoughfrom an

oily, / smoother air, they come down on the threadbare carpet, thinned by their everlas ting / upspringing, this

carpetforlornly / lost in the cosmos. / Laid on like a plaster, as though the suburban sky / had injured the earth there.'

Although this work reveals the artis t's new sense of kinship with his environment, it continues the meditative mood of the

previous years. Here, as in the earlier works, the figures are not unified as a group by the performance of some common

action; any similarity to a genre scene is excluded by the spirituality of the figures, expressing melancholy tenderness

rather than resigned despair. This tenderness is clearly conveyed-precisely because the colors are subdued-by the flowing

lines, so very different from the harsh, angular lines of the preceding period. Now Picasso becomes increasingly interested

in drawing; we have a few etchings from these same years, and his first sculpture, Head of a Harlequin, also dates from this

time. Concentration on the possibilities of line ushers in a new period in Picasso's art, one in striking contrast to his Fauve

and earliest Expressionist works, in which color predominated over line. Rainer Maria Rilke The Duino El ie translated b . B.

Leishman and Stephen Spender. The Hogarth Press, London, 1963 (4th edition, revised)" (cf. Hans L. C. Jaffé, "Pablo

Picasso").

Pablo Picasso | Dziewczyna z dzbanem | 1906:

– widać inny sposób modelunku twarzy,

rzeźbiarskie sposoby modelowania twarzy i

nosa, uproszczenia i bryłowatość

– jest wynikiem doświadczenia z twórczością

Cézanne’a + droga, którą przeszedł

Gauguin = inne zasady prezentacji,

kolonialny świat ściągnięty do Paryża +

ogromne znaczenie miały zbiory Muzeum

Człowieka w Paryżu, które zastąpią Luwr dla

Picassa > będzie tam studiował nowe, inne

sposoby postrzegania świata

Pablo Picasso | Toaleta | 1906:

– widać jak Picasso studiuje inne zasady

estetyki

Pablo Picasso | Naga modelka | 1906:

– rysunek, figura, posążek

Pablo Picasso | Akt na czerwonym tle | jesień

1906:

– Picasso koncentruje się na twarzy - daleko

idące uogólnienia > ten sposób

przedstawiania zakłada subiektywizację

przedstawienia

– wyraźnie odchodzi od zasady portretowej

Pablo Picasso | Wnętrze pracowni | 1906:

– na ścianie widać obiekty etniczne – to go

otaczało

Pablo Picasso | Akt siedzący i akt stojący |

czerwiec 1906:

– lato i wczesna jesień 1906 to czas kiedy

dokonuje się ten zasadniczy przełom

Pablo Picasso | Akt siedzący | czerwiec 1906

Pablo Picasso | Dwie nagie kobiety | czerwiec

1906:

– minimalizacja problematyki ikonograficznej,

koncentruje się na jednym wątku – wątku

modelki – postaci kobiecej

Pablo Picasso | Tors kobiecy | jesień 1906

Fotografia Gertrudy Stein:

– Ten przełom ma miejsce na przełomie lata i

jesieni 1906 przy okazji tworzenia portretu

Gertrudy Stein

Pablo Picasso | Gertruda Stein | lato 1906:

– jest to jego oficjalny manifest, opowiedzenie

się za innymi możliwościami przedstawiania

wizerunku

– przede wszystkim ostro wykrojone oczy,

pochodzące z rzeźby archaicznej

– interesowała go wczesnośredniowieczna

rzeźba hiszpańska

– całość jeszcze rozmalowana

"Along with her brother Leo, Gertrude Stein was among the first Americans to respond with enthusiasm to the artistic revolution in Europe in the

early years of the twentieth century. The weekly salons she held in her Paris apartment became a magnet for European and American artists and

writers alike, and her support of Matisse, Braque, Gris, and Picasso was evident in her many acquisitions of their work. For Picasso, this early

patronage and friendship was of major importance. Picasso's portrait of the expatriate writer was begun in 1905, at the end of his Harlequin period

and before he took up Cubism. Stein is shown seated in a large armchair, wearing her favorite brown velvet coat and skirt. Her impressive demeanor

and massive body are aptly suggested by the monumental depiction. In her book "The Autobiography of Alice B. Toklas" (1932), Stein described the

making of this picture: "Picasso had never had anybody pose for him since he was sixteen years old. He was then twenty-four and Gertrude had never

thought of having her portrait painted, and they do not know either of them how it came about. Anyway, it did, and she posed for this portrait ninety

times. There was a large broken armchair where Gertrude Stein posed. There was a couch where everybody sat and slept. There was a little kitchen

chair where Picasso sat to paint. There was a large easel and there were many canvases. She took her pose, Picasso sat very tight in his chair and

very close to his canvas and on a very small palette, which was of a brown gray color, mixed some more brown gray and the painting began. All of a

sudden one day Picasso painted out the whole head. I can't see you anymore when I look, he said irritably, and so the picture was left like that."

Picasso actually completed the head after a trip to Spain in fall 1906. His reduction of the figure to simple masses and the face to a mask with heavy

lidded eyes reflects his recent encounter with African, Roman, and Iberian sculpture and foreshadows his adoption of Cubism. He painted the head,

which differs in style from the body and hands, without the sitter, testimony to the fact that it was his personal vision, rather than empirical reality,

that guided him in his work. When someone commented that Stein did not look like her portrait, Picasso replied, "She will." (cf. The Metropolitan

Museum of Art, NYC).

Pablo Picasso | Autoportret z paletą | 1906:

– bezpośrednio po portrecie Gertrudy Stein

powstaje seria obrazów o ciężkim

modelunku

"Picasso incorporated his own features in a number of early works, though seldom in the form of explicit self-portraits. Aside from the self-portrait

in the National Gallery in Prague, which dates from 1907, the one shown here is the last he ever painted. It is hard to say why, but one reason is

surely the fact that around 1906 Picasso lost interest in human psychology and turned all his attention to problems of form. Thus, the self-portrait of

1906 stands between two periods of Picasso's art: it heralds a new style aiming at spatial values. A clear indication of this new tendency is the fact

that in this painting he almost entirely renounces color, restricting it largely to the triad of gray, white, and ocher. Only the palette that Picasso holds

in his left hand shows a bit of red and a darker ocher tone. Precisely because of this near-absence of color, the forms in space and the volumes of

the body are brought out the more strongly. The figure of the artist is projected into space and creates its own field of spatial energy by the impact

of its three-dimensionality. As a result, the fact that Picasso did not achieve this effect through modeling but through the suggestion of a few sharp

outlines, is all the more striking. Nor is there any question of light effects in this all-butcolorless portrait: Picasso is aiming at the essential

characteris tics of the surfaces, trying to paraphrase them in the same way as the plastic values. The gripping effect of the portrait rests primarily

on its spatial structure. Here the twenty-five-year-old Picasso displays complete mastery of his means. At the same time, we catch a hint that he is

no longer satisfied with these means, that he is groping toward new ones in view of attaining another goal. The revolution in painting that he was to

touch off in the next few years is already anticipated in this work. All attempts at psychological treatment of the human figure have been abandoned,

and the artist is no longer primarily aiming at producing a likeness. The painting has a supra-personal order, a firmly-knit structure in its own right.

It is noteworthy that this same year Picasso produced a sculptures bronze head-which realizes the same idea of form, and also anticipates future

developments. The figure that confronts the viewer in this work is more thanjust a portrait of the young artist: it is a work in which Picasso sums up

his achievements to date and readies himself for the fresh start that will lead him ever farther afield-the exploration of a new world of space,

volume, and order" (cf. Hans L. C. Jaffé, "Pablo Picasso") Commentary: "This painting of 1906 was Pablo Picasso's first important self-portrait since

1901. In the intervening years, he had appeared in his works only in the guise of hungry beggars or scraggly performers, metaphorical

representations of the outcast artist. Now he emerges as a proud and determined painter, his palette the only clue to the profession of this hardy,

almost athletic figure whose power is concentrated in the right arm with clenched fist, a massive and richly volumed form that overwhelms the

simply rendered body. The vitality in this arm acts in counterpoint to the stern inexpression of the artist's face, whose exaggerated eyelids and

brows, oval face, and oversized ear give it the impression of a mask, separated from the body by both the hue and the pronounced line of the

collarbone. In this painting, which reflects the stylistic influences of his recent encounters with Catalan art and prehistoric Iberian sculpture, Picasso

appears as the painter without a brush, thus confidently and presciently ascribing to himself the "magic" he would continue to find in premodern and

non-Western traditions" (cf. Philadelphia Museum of Art).

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