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Picasso, Pablo (Pablo Ruiz y Picasso) [Spanish, 1881-1973] 

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Picasso, Pablo (Pablo Ruiz y Picasso) [Spanish, 1881-1973]


[ 20th Century Artists | Cubist Artists ]

Descriptive Text

Pablo Picasso: Thumbnails of 20 pictures - _picasso.jpg
Pablo Picasso: Accordionist, 1911 [New York] - accordst.jpg
Pablo Picasso: Assemblage mounted in Picasso's studio at 242, boulevard Raspail, 1913 - assemblg.jpg
Pablo Picasso: Au Bon Marche, 1913 [Aachen] - bonmarch.jpg
Pablo Picasso: Bather, 1909 [New York] **with comment** - bather.jpg
Pablo Picasso: Bowl of Fruit (The Fruit Dish), 1912 [New York] - compotir.jpg
Pablo Picasso: Boy Leading a Horse, 1906 [New York] - boy_lead.jpg
Pablo Picasso: Bust of a Woman with a Hat, 1962 - bustwhat.jpg
Pablo Picasso: Glass, Dice, and Newspaper, 1914 [Paris] - dice.jpg
Pablo Picasso: Index of Picasso Pictures Manifest.jpg
Pablo Picasso: Musketeer and Cupid, 1969 [Cologne] - cupid.jpg
Pablo Picasso: Portrait of Dora Maar, 1937 [Paris] - doramaar.jpg
Pablo Picasso: Still Life with Death's Head, 1907 [St.Petersburg] **with long comment** - deathead.jpg
Pablo Picasso: Still Life with Violin and Fruit, 1912 [Philadelphia] **with long comment** - bowl.jpg
Pablo Picasso: The Aficionado, 1912 [Basel] - aficiona.jpg
Pablo Picasso: The Dance, 1925 [London] - dance.jpg
Pablo Picasso: The Smoker, 1968 - ala_pipe.jpg
Twenty Cubist Scans--(14) - picasso_harlequin_1918.jpg
Twenty Cubist Scans--(12) - picasso_bottle_guitar_glass_and_pipe_1912.jpg
Twenty Cubist Scans--(17) - picasso_seated_female_nude_1910.jpg
Twenty Cubist Scans--(15) - picasso_man_leaning_on_a_table_1915-16.jpg
Pablo Picasso: autoportrait_1901 (1).jpg
Pablo Picasso: picasso_idx01.jpg
Pablo Picasso: autoportrait_1896.jpg
Pablo Picasso: acrobate_et_jeune_arlequin_1905.jpg
Pablo Picasso: buste_de_femme_au_chapeau_1962.jpg
Pablo Picasso: picasso_index01.jpg
Pablo Picasso: femme_a_la_fleur_1932.jpg
Pablo Picasso: picasso_index04.jpg
Pablo Picasso: etude_academique_1895-97.jpg
Pablo Picasso: femme_assise_au_chapeau_jaune_et_vert_1962.jpg
Pablo Picasso: femme_nue_accroupie_sur_fond_vert_1960.jpg
Pablo Picasso: femme_nue_accroupie_1956.jpg
Pablo Picasso: femme_nue_assise_1921.jpg
Pablo Picasso: femme_nue_dans_un_fauteuil_1965.jpg
Pablo Picasso: femme_nue_accroupie_1959.jpg
Pablo Picasso: femme_nue_aux_jambes_croisees_1903.jpg
Pablo Picasso: jaime_sabartes_avec_pin-up_1957.jpg
Pablo Picasso: grande_baigneuse_au_livre_1937.jpg

PICASSO, Pablo
Bather
Paris, [winter-spring] 1909
Oil on canvas
51 1/4 x 38 1/8 in. (130 x 97 cm.)
Collection Mrs. Bertram Smith, New York
Daix 239

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
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John Golding, "Cubism: A History and an Analysis 1907-1914":

"Picasso's 'Bather'...shows the painter accomplishing the desired optical
synthesis in a very thorough but slightly schematic way. Here both buttocks and
the far side of the back are visible in what is basically a simple three-quarter
view of the figure; one leg is in strict profile, while the other is seen
almost from a frontal position. The face, divided down the central axis, is a
crude combination of a three-quarter and profile view, and the elongation of the
mouth suggests even a purely frontal viewpoint."

PICASSO, Pablo
The Dance
Monte Carlo, June 1925
Oil on canvas
215 x 142 cm
Tate Gallery, London
Zervos V, 426

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
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PICASSO, Pablo
Musketeer and Cupid
Mougins, 18 February 1969
Oil on canvas
194.5 x 130 cm
Museum Ludwig, Cologne
Zervos XXXI, 67

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
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PICASSO, Pablo
The Smoker
Homme a la pipe
Mougins, 22 November 1968
Oil on canvas
146 x 88.8 cm
Galerie Rosengart
Zervos XXVII, 377

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
the Patron Program 

PICASSO, Pablo
The Aficionado
Sorgues, summer 1912
Oil on canvas
53 1/8 x 32 1/4 in. (135 x 82 cm.)
Kunstmuseum Basel
Daix 500

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
the Patron Program 

PICASSO, PABLO
Still Life with Chair-Caning
Paris, [May] 1912
Oil and oilcloth on canvas, with rope frame
10 5/8 x 13 3/4 in. (27 x 35 cm.)
Daix 466. Musee Picasso, Paris

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
the Patron Program 

"Picasso and Things," Cleveland Museum of Art:

"This very small canvas - about one foot wide - is one of the icons of Cubism.
It may also quite genuinely be the most seminal work in the history of that
movement, regardless of whether or not it was the first collage.  Although the
Still Life with Chair Caning has many of the characteristics of traditional
Analytical Cubism - the palette, the description (or analysis) of the forms, the
iconography with its source in the cafes of Paris, and indeed of France, the
play with equilibrium, the use of the oval shape to distinguish it as a separate
object - it still possesses an originality that makes it a radical work.

"Within the still life, the objects read from left to right: a folded newspaper
with the "JOU" of Le Journal (presumably suggesting play), a white clay pipe
that cuts across it diagonally, a transparent goblet in the approximate center,
a knife with a broad blade cutting across a cut lemon, and below that a white
form with one scalloped edge, which is usually ignored in descriptions of the
work but has been described as an oyster, as a scallop shell, the French
coquille Saint-Jacques, and simply as a shell. Although none of these objects
are rendered in conventional representational forms, their shapes are clear and
the objects largely identifiable. Their contours are decisive when Picasso
wanted to move our eyes through space. Their colors are the restrained grays,
whites, browns, and blacks that had dominated Analytical Cubism since l910. Even
if, as Robert Rosenblum states, "near and far, up and down, reflection and
substance ... are constantly shuffled," these painted areas fall within the
Cubist idiom developed by the time it was painted in the spring of 1912.

"As has often been described this small painting represents three radical
departures from earlier Analytical Cubism. The oval Braque and Picasso had
favored is here turned most unconventionally on its side, although Picasso had
been working toward it already in the three small compositions on the theme,
"Our future is in the air," Notre Avenir est dans l'Air. Secondly, like one in
that , this is framed with a continuous hemp rope, which is a shock in its
coarseness against the smooth sophistication of the Cubist painting in oil. The
rope also isolates the oval more effectively as an object than anything either
Braque or Picasso had so far done. Thirdly, Picasso pasted onto the canvas a
piece of oilcloth that had been printed to imitate the then very common caning
of a chair. This has caused Rosenblum to speculate about the shuffling of fact
and fiction in the work and even to wonder whether Jim Jordan might not be right
in proposing that the rope frame was intended to convey that the entire
painting is a mirror reflecting the objects and the chair caning. The reflection
could explain the grayish tonality with the white highlights, the plays of
darks and lights, and even the inexplicable object vvhich makes a horizontal
break across the bottom of the chair caning the back of a chair perhaps. But it
would not explain the fact that the letters "JOU" are not reversed.

"Much has been made of the fact that the objects and materials were common and
even industrially manufactured the simple cafe things, the oilcloth reproducing

PICASSO, Pablo
Bowl of Fruit (The Fruit Dish)
Compotier et fruits
Ceret, spring 1912
Oil on canvas
55.3 x 38 cm
Private collection, New York
Zervos II, 302; DR 475

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
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PICASSO, Pablo
Glass, Dice, and Newspaper
Paris, [spring] 1914
Construction of painted wood and tin
8 1/8 x 7 1/2 x 3 3/4 in. (20.6 x 19 x 9.5 cm.)
Musee Picasso, Paris
Daix 750

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
the Patron Program 

PICASSO, Pablo
Bust of a Woman with a Hat
1962
colored linocut
private collection

PICASSO, Pablo
Bread and Fruit Dish on a Table
Paris, winter 1908-1909
Oil on canvas
64 5/8 x 52 1/4 in. (164 x 132.5 cm.)
Kunstmuseum, Basel
Daix 220

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
the Patron Program 

John Golding, "Cubism: A History and an Analysis 1907-1914":

"Bread and Fruit Dish existed in an earlier version; it...began life as a figure
piece. The composition of the painting and its original theme was developed
from two ambitious watercolors of late 1908 entitled 'Carnaval au bistrot',
which showed five figures, one wearing a harlequin's hat and another a beret,
disposed round a drop-leaved table; the compositions of these watercolors are
markedly horizontal. A presumably slightly later gouache, executed on a
block-like, upright format, shows the number of figures reduced to four: three
seated figures and the same female attendant advancing from the background
holding a bowl of fruit. Seated from left to right are a woman, a central
harlequin and a man wearing a Cronstadt hat. In the lower part of the great
still life, sketchily blocked in, we see the same configuration of legs as in
the studies on paper. Above, the compotier with fruit and drapery replaces the
female figure at the left. William Rubin has suggested that the Gilles-like
figure in the watercolor studies is a reference to Douanier Rousseau, clad most
characteristically in his beret, and that his presence is still evoked in the
left-hand side of the still life through stylistic allusions to his work in
terms of insistently if softly modelled forms, smoothly rendered in nuances of
Douanier-like greens. The central harlequin of the studies Rubin identifies as
Picasso himself (and so indeed he was wont to portray himself) and the man in
the Cronstadt hat as Cezanne, who often wore one. These figures have been
replaced in the still life by loaves of bread, echoing the position of their
arms; their trunks and heads have been eliminated. The right-hand side of the
painting, as Rubin poins out, is Cezannesque in feeling... Bread and Fruit Dish
is a work of extraordinary gravitas; and it has about it a physicality and a
presence seldom associated with ordinary still life."


"Picasso and Things," Cleveland Museum of Art:

"One of the greatest early still lives by Picasso is the large over five
footÄhigh Table with Loaves and Bowl of Fruit of 1908-1909 in the Kunstmuseum,
Basel. In her review of the Museum of Modern Art exhibition, Picasso and Braque,
Karen Wilkin vvrote that it is another knock down dragÄout masterpiece, a
relerlllessly dense, rocklike construction that rnay derive frorn Cezanne's card
players. The table squats across the center of the canvas, like Gertrude Stein
in Picasso's celebrated portrait.... The contradictions between the picture's
four-square, rather formal structure and its varied expressive facture stops you
dead in your tracks.

"It was Christian Geelhaar, then curator, and until recently director of the
Kunstmuseum at Basel, vvho first pointed out that Picasso had derived this still
life from studies of a group of saltimbanques arranged behind a dropÄleaf
table, which Zervos calls A Carnival at the Bistro . The evidence is clear that
the inanimate grew out of the animlate. As Picasso worked on the figurative

PICASSO, Pablo
Woman in an Armchair
[Paris, autumn 1913]
Oil on canvas
58 1/4 x 39 in. (148 x 99 cm.)
Collection Mrs. Victor W. Gantz, New York
Daix 642

MARK HARDEN scanned this image and archived it in his MUSEUM OF ART
 (follow the link to the "Artchive")
About 2000 scans from 200 artists, free for non-profit personal or educational
use. Please do not endanger their availability by improper use!
You can have your own CD-ROM of the entire site by joining 
the Patron Program 

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