#picasso.pablo

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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

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“When the artist simultaneously presents the [anatomical] norm base and the [abstracted] deviation from it, a most effective tension is created... 

“Picasso [...] can combine a frontal eye with a profile eye, and thereby not only define the deviation through reference to its base but also obtain the squeezing effect that results from the perceiver’s effort to reconcile the two aspects in one image. The same is true for the contradictory placing of the nostrils; and the dislocation of the lower jaw in the upper sketch not only represents the gnashing of the teeth but it is also the visual coincidence of two different spatial orientations, with the ensuing tension between the two positions of the same object.” — pp. 62-3

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Ron English / Guernica, Allouche Gallery, New York, September 22 through October 19, 2016.

The exhibition features the inaugural debut of 18 new paintings by the prolific contemporary Pop and street artist, Ron English. The exhibition’s title and subjects take reference from Pablo Picasso’s 1937 painting ‘Guernica’ and presents its individual narrative by Ron English. Picasso’s piece was widely acclaimed as one of the best anti-war painting based on the bombing on a village in Northern Spain, while Ron English sends a strong message about the never-ending cycle of destruction in connection with modern war realities. The artist has been working for two years on this series. Each work compels the viewer to look into the cultural biases that we carry in our consciousness.