Musee Picasso Paris, Olga Picasso
The didactics are, perhaps, a bit overreaching:
“Picasso perfectly catches all the ambiguity of this woman whose beauty, underlined by the expressiveness of an Ingres line or an antique roundness, is bathed in a soft and deep melancholy, a reflection of her tragic situation and powerlessness in the face of she he dramas confronting her family.”
“this is one of the major — and magical — objects that help reveal the story of a life”
Re: Guernica (“Picasso had often stressed the need for the modern artist to be a visual kleptomaniac, and with Guernica he didn't disappoint.”)
Le peintre et son modèle (1926) uses a similar compositional strategy through use of flat areas of colours to define spaces in which complex interactions of forms demarcated by strong linework might occur
Le Baiser (1931) has the teeth and tongues
the arched neck of the horse and the stoic bull appear repeatedly: Taureau et cheval blessé (1921), Corrida (1922), Corrida: taureau et cheval (1923), Combat centre taureau et cheval (1933-4), and Femme à la bougie, combat entre le taureau et le cheval (1934)
so many elements present within Minotauromaquia (1935) > similarly the ladder and the lady with the candle (Munich)
Other observations:
the fingers of Picasso’s lumpy plasticine-like classical figures are a bit like Guston's sausage fingers
bathers and acrobats series remind me of Corinne Sylvie's paintings I’ve at home
“For us Spaniards, its mass in the morning, bullfights in the afternoon and brothels at night. What does this blend into? Sadness.” — in Picasso's Mask
cubism: Cezanne phase 1908-08; analytic phase 1910-11; and mixed phase 1912 onwards