Art of the 20th Century




A Revolution in the Arts




 





Art Styles in 20th century Art Map



 


 

 

 

 
 

 
 


Pablo Picasso



The Image of the Artist  1881-1973
The Making of a Genius  1890-1898
The Art of Youth  1898-1901
The Blue Period  1901- 1904
The Rose Period  1904-1906
In the Laboratory of Art  1906-1907
Analytical Cubism  1907- 1912
Synthetic Cubism  1912-1915
The Camera and the Classicist  1916-1924
A Juggler with Form  1925-1936
War, Art and "Guernica"  1937
The Picasso Style  1937-1943
Politics and Art  1943-1953
The Presence of the Past  1954- 1963
The Case of "Las Meninas"  1957
The Old Savage  1963-1973
The Legend of the Artist


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appendix:

Pablo Picasso - Erotic Drawings 1968-1972
Pablo Picasso and his Women

 

 
 

 

 

 



A Juggler with Form
 1925-1936




 

 

The various states of the "Minotauromachy" etching, and the India-ink and gouache studies of 1936, allude both to the ancient tradition and to the modern. The Minotaur invades the sculptor's studio. He is also seen dragging the dead mare, a symbol of female sexuality, from his lair. He is plagued by demons, and is vanquished by Theseus. But the creature can always be identified with the dual nature of the artist. This owes something to Nietzsche's "The Birth of Tragedy", in which Nietzsche saw art as essentially a duality, possessing Apollonian and Dionysian features. His view was an un-historical one, projected upon Greek antiquity; but the interpretative structure it provided has proved widely useful. Picasso equated his sculptor with the Apollonian spirit, but all things intoxicated and impassioned were Dionysian. Both aspects of the creative duality appeared in his work.
 


Minotauromachy
1935

 


Woman with a Candle, Fight Between Bull and Horse
1934

 


Design for the Cover of "Minotaure"
Collage
1933

 


Wounded Minotaur, Horsr and Figures
1936

 

 

Of course we must remember that the violence in many of these works also reflected contemporary politics. France and indeed all of Europe was radically unstable at the time, and Fascism was on the rise. Spain had been in the hands of a military dictatorship since 1923, and it was not till 1931 that an elected government replaced it. Since 1930, the Surrealists had been increasingly committed to the Communist Party, but Picasso refused to be directly involved in politics. This does not mean that he took no interest in political events or was ignorant of social conditions, though it is true that his purchase in 1932 of Boisgeloup, a chateau 60 kilometres north of Paris, and his employment of a private secretary and a chauffeur, can be taken as indications of his middle-class established status.

 


Minotaur and Dead Mare Outside a Cave, with Young Veiled Girl
1936

 


Faun, Horse and Bird
1936

 

 

The key picture in political terms is the composition showing the Minotaur in the clutches of a gryphon figure, Picasso's variation on a famous ancient model, the Hellenistic Pasquino group, showing the dead Patroclus in the arms of Menelaus. It was done as a study for the curtain for Romain Rolland's play "14 juillet", performed in Paris in summer 1936 in honour of the election victory of the French People's Front. Like the bullfight, the use of the Minotaur motif shows the subject's symbolic value in Picasso's eyes, as an expression of social concern. The parallels with the increasingly critical political situation, and Picasso's preoccupation with the Minotaur and bullfight complex, eloquently suggest the multitude of meanings these themes can convey. From 1925 to 1936, Picasso used a stock of formal and thematic approaches that could be used for a great variety of purposes. It was an art of transfer. Unlike the previous period, this one did not end in a single work gathering all the strands together in one great synthesis, but in the end the times compelled him to create such a work. In 1937 he painted his great masterpiece "Guernica".

 


Study  for the Curtain for "14 Jullet" by Romain Rolland
1936

 



Curtain for "14 Juillet" by Romain Rolland
1936

 


Musical Instruments on a Table
1925

 


The Bottle of Wine
1925

 


Studio with Plaster Head
1925

 


Still Life with Bust and Palette
1925

 


Still Life with Ancient Bust
1925

 


Woman with Sculpture
1925

 


Woman with Mandolin
1925

 


The Milliner's Workshop
1926

 


Musical Instruments on a Table
1926

 


Guitar
1926

 


Guitar
1926

 


The Artist and his Model
1926

 


Seated Woman
1927

 


Seated Woman
1927

 


Figure
1927

 


The Artist and his Model
1928

 


The Studio
1927

 


Face (Marie-Therese Walter)
1928

 

    
Bust of a Woman with Self-portrait
1929

 


Head
1929

 


The Blue Acrobat
1929

 


The Acrobat
1929

 


Reclining Woman
1929

 


Large Nude in a Red Armchair
1929

 


Woman with Veil
1929

 


Woman with Doves
1930

 


Seated Woman
1930

 


Seated Bather
1930

 


Head of a Woman
1929-30

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