In memory of Pablo Picasso
In April - the day of memory of the Spanish artist, sculptor, graphic artist, designer Pablo Picasso
(current name Pablo Diego José Francisco de Paula Juan Nepomuseo Maria de los Remedios Cipriano de la Santisima Trinidad Martir Patricio Ruiz and Picasso;
(October 25, 1881 - April 8, 1973)).
ON PHOTOS: 1. Pablo Picasso. Against the background of paintings in the style of cubism. Photo, ok.1910
2. Pablo Picasso and Ilya Ehrenburg. Mougins, France, 1966. Photo
3. Ilya Ehrenburg against the background of his portrait (drawing of P. Picasso's brush).
Irene Borg paintings for sale
Memories of Ilya Ehrenburg
about Pablo Picasso:
"People who write about Picasso, note that he seeks to refresh, gut the visible world, dismember both nature and morality, crush the existing; some see in this his strength, his revolutionary nature, others speak with regret or indignation about the "spirit of destruction."
I have felt the destructive power of Picasso more than once in my life, there have been periods when I felt only this, I was happy about it, it was inspired by it. But this is a fact of my biography, not of Picasso's biography. (Now some of Picasso's canvases seem to me intolerable: I do not understand why he is capable of hating the face of a charming woman). Is it fair to call the destroyer of a man full of the thirst for creation, an artist who for over sixty years built and built, who boldly joined the Communists, did not prefer anarchism, indifference or the pose of skepticism, which is much easier for the artist? It is possible - and this too will be true - to say that Picasso comes to life in his studio, that he is irritated by the aesthetic illiteracy of various "judges", that he prefers loneliness to rallies or meetings. But how can one forget his passion during the Spanish war, his dove, participation in the movement of supporters of the world, a party card, posters, drawings for "L'Humanite" and much more?
In the era of the Montmartre ("Bateau-Levauir"), which I no longer found, in the era of the "Rotunda", which I tried to describe, we were young, loved to play mischievous, "weighed". But Picasso retained a passion for a joke, to the drawing up to eighty years. He still poses in front of photographers in the nude, fools the brilliant visitors, takes part in the bullfight. He has a large series of lithographs "The Artist and His Models". The artist reminds of Rubens, then Matisse in old age; models - naked models or characters of Velasquez and other old masters; often among them a young jester, and this jester is like Picasso (he laughs at himself and, probably, is proud of himself). No one knows exactly, listening to him, where he ends up joking; he knows how to joke very seriously, and serious things say that if you want to easily take them for a joke.
I am sometimes asked how to correctly pronounce "Picasso" - with emphasis on the last syllable or on the penultimate, that is, who he is: a Spaniard or a Frenchman? Of course, the Spaniard - both in appearance and in character, in the cruelty of realism, in passion, in deep, dangerous irony. The civil war in Spain shocked him; maybe, "Guernica" will remain the most significant picture of our time. In the studio of Picasso in St. Augustin Street, I always met Spanish immigrants. Spaniards Pablo never refuses anything. All this is true, but it is worthwhile to think about the other. Why did he live his whole life in France? Why was Cezanne great and great for him? Why were his best friends three French poets - Guillaume Apollinaire, Max Jacob, Paul Eluard? No, you can not tear off Picasso from France.
Some people change dramatically, and such changes make the story easier: life acquires elements of that "development of action" that attracts novice playwrights. Carried away by unexpected actions, biographers often forget about the character of a person. So it happens with research devoted to poets or artists: the futuristic period of Mayakovsky, the Nekrasov period of the Bloc, the Spanish period of Manet, the Impressionist period of Cezanne. Try to dismember and creativity of Picasso.
It would seem that nothing is easier: every two to three years he shocked and amazes critics with picturesque discoveries. Researchers establish many "periods" - blue, pink, Negro, Cubist, Ent, Pompeian and so on. The trouble is that Picasso suddenly overturns all the divisions. Mayakovsky, after visiting Picasso's studio in 1922, reassured his friends: the rumors are incorrect, Picasso did not return to classicism. The young Mayakovsky, however, was surprised that he did not find any "period" in Picasso: "The most varied things are his studio, beginning with the real scene of a bluish-pink, very ancient antique style, ending with the construction of tin and wire. Look at the illustrations: the girl is completely gray. Portrait of a rudely realistic woman and an old folded violin. And all these things are marked with one year. "
Mayakovsky believed that a poet who writes poetry "ladder", can not get carried away sonnets. A Picasso is equal