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This fully illustrated catalog, with essays by leading and emerging scholars in the field of Picasso studies, tells the remarkable story of Pablo Picasso's breakthrough year – 1901 – as an artist. It brings together an extraordinary group of paintings to explore his rapid artistic development during this single year, which launched his career and reputation in Paris. These major paintings will be reunited from public and private collections internationally, making the catalogue a unique opportunity to experience Picasso's very first masterpieces.
- Sales Rank: #387062 in Books
- Brand: Brand: Paul Holberton Publishing
- Published on: 2013-02-28
- Original language: English
- Number of items: 1
- Dimensions: 10.25" h x .63" w x 8.50" l, 1.78 pounds
- Binding: Paperback
- 160 pages
Features
- Used Book in Good Condition
Most helpful customer reviews
5 of 5 people found the following review helpful.
Picasso From Nineteen to Twenty
By Kenneth Hughes
This is the catalogue accompanying the similarly named exhibition at London's Courtauld Gallery from February to May 2013, which presents eighteen major figure paintings from the year in which Picasso turned twenty. To concentrate on one year in the life of an artist whose active career spanned almost eighty years, and to consider only eighteen of what is estimated to have been almost 250 works (oils, pastels, and realized drawings) he created in that year, may seem like far too narrow a focus to yield much critical understanding. But the opposite turns out to be true; 1901 was such a significant year for the artist that an examination of even just a sampling of his work reveals much that is valuable for understanding his later development and, indeed, his lifelong practices. Picasso's first visit to Paris in the previous year was a kind of testing of the waters, but when he returned in May 1901, he had to face two very stark realities. One was the fact that his good crony and erstwhile traveling companion, Carles Casagemas, had in the meantime committed a particularly dramatic suicide over an unrequited love affair, and the second was that Picasso was about to get his first big public show at the galleries of Ambroise Vollard and he had to produce work to put in it. This exigency seems to have displaced his coming to terms with his friend's death, and in the next five or six weeks he produced most of the sixty-four paintings that Vollard exhibited. These are paintings with the open and broken brushwork that had been the touchstone of the Impressionists and Post-Impressionists, works in which Picasso confronts, absorbs, and subsumes the styles and subjects of the modern French tradition that stamped the Parisian art-world of the time. His evocation of the gaiety and decadence of the Belle Epoque was so striking and successful that the Parisian art press even spoke of a "Spanish invasion," and the critics were confounded when, instead of continuing in this winning vein, he reinvented his style even in the closing days of the exhibition, greatly muting his palette and adopting sombre, even melancholy themes, possibly finally feeling the emotional effect of Casagemas's suicide. Now come the more contemplative and timeless, more measured and carefully composed works with a mournful tinge: the series of absinth drinkers, of harlequins, of mothers with children--some with an anticipatory blue tonality that becomes more prominent as the summer wanes to autumn and he starts to paint what we now see as the precursors of the Blue period soon to come. "The Blue Room (The Tub)" from the late summer (The Phillips Collection) can be seen as a convenient marker of the transition. And now come also the three paintings he made of his dead friend, the existence of which he concealed until the compilation of a catalogue raisonné of his work sixty years later. As he reportedly said, it was the death of Casagemas that started him painting in blue. The difference in the two styles is reflected in the division of the installation in the two smaller rooms on the Courtauld's top floor.
In sum, 1901 is an extremely important, even pivotal, year for Picasso. It sets patterns for his entire artistic future, from the relatively minor (his adoption of the trademark "Picasso" signature that is now so familiar and that seems to be his signal that his creative identity is now set) to the major (the volatile mutability of his style will be a characteristic of his entire oeuvre from now on). These patterns are expertly exemplified by the eighteen full-page catalog reproductions in fine color and clarity. They are accompanied by some sixty additional illustrations, many also full-page or half-page, and by excellently informed and clearly written annotated commentaries by Barnaby Wright, the Courtauld's Senior Curator and the volume's editor, who also contributes a comprehensive introduction. There are also three essays by Picasso scholars that deal with topics ranging from Picasso's practice of painting over existing canvases and its implications for his own sense of development; to the conceptions of "genius" that coalesced around his painting and his person; and the Nietzschean intellectual atmosphere that informed his most ambitious painting of the year, "Evocation (The Burial of Casagemas)." I found these all to be very enlightening. The book closes with an appendix that consolidates earlier research and makes important new suggestions in the attempt to match the Vollard catalogue descriptions to actual works (a feature that will make the catalogue particularly valuable to scholars and art historians) and with a brief but useful bibliography of frequently cited works. There are so many Picasso books that one has to be very selective in choosing what to buy--or even read--but this is one I can recommend highly; it casts good light on this period in Picasso's life, and in gathering together important paintings from many far-flung collections, it is an excellent resource and a valuable contribution to understanding his formative years.
0 of 0 people found the following review helpful.
Informative book written for specialist or academic readers in Picasso's 1901 work, but helpful for general readers too.
By 2215bee
This book, as it's title would indicate, is about only one year in Picasso's working life. The year is 1901, when he had just come to Paris to seek out a place for himself and his art in that very important metropolis. The book's first couple or three chapters are informative and interesting, and useful to anyone interested in Picasso's early years.
I should say at this point that I bought the book months before I read it, and only decided to read it after seeing the Picasso sculpture exhibition at MoMA.
Early on in the book, the important role of Carles Casagemas and his suicide for Picasso's development is discussed. The idea that the event of Casagemas' suicide impelled Picasso to take a more "original" approach to his art, as distinct from what he had been doing before (painting canvasses heavily reliant upon, or derivative of, the art of Toulouse-Lautrec, Delacroix, Van Gogh, Degas, and others) is advanced. The suicide hit Picasso very hard, according to at least one of the authors included in this volume, and essentially resulted in the makings of Picasso's Blue Period.
Another chapter -- and an interesting one at that -- deals with Nietzsche's influence on the times in which Picasso painted, and via a strange and rather loathsome character named Pompeyo Gener, on Picasso's "circle" in Barcelona (I think?) and of course, Picasso himself. I do not want to talk about Gener's Catalan anarchism, because of its similarity to outright fascism, and my disinclination to describe a topic that is handled well by the author of this topic in the book itself.
The last chapter in this short book is devoted to the notion of genius, as far as I can make out. I did not give this chapter its fair shake, due to its account of the rejection of the concept of "genius" in modern writers such as Walter Benjamin, who had some strange ideas (which I will admit to not understanding, because I have never read the essay "On the Work of Art in the Age of Mechanical Reproduction" where Benjamin's encounter with the notion of "genius" takes place.) I read a few pages of the chapter, got frustrated, and stopped there. My reasoning is simple: I hold that Picasso WAS a genius, pure and simple. And I am just not interested in "problematizing" "interrogating" or doing anything else about Picasso's genius, other than acknowledging it. There is an extremely funny quote from Georges Braque about Picasso in late life, though, which almost made the bit of reading in this chapter worthwhile: "Picasso used to be a very good painter; now he's just a genius." (!) The meaning of this quote will be clear to anyone familiar with the hagiography surrounding PP, once his reputation was solidified.
Because I didn't finish the chapter, I will leave things there, and let other readers decide for themselves on its value.
There is a selection of plates with good detailed descriptions, drawn from Picasso's work in 1901.
There is also a list of paintings shown in Ambroise Vollard's show, in which Picasso participated, also in, you guessed it, 1901.
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