Prolific Artists in Modern History, Pablo Picasso

¶ … prolific artists in modern history, Pablo Picasso continues to satisfy viewers and critics alike. Picasso's early training as a classical artist prepared him for the revolutionary turns in his career. As co-developer of cubism with Georges Braque, Picasso astounded audiences and encouraged artists to rethink their perceptions of the world. He drew upon the techniques mastered by the Impressionists to forge his own identity and style, an artistic vision that remains inspirational and salient in the art world.

Picasso's early works often appear so classically rendered as to astound the student of modern art. His version of "Moulin de la Galette" (1900) depicts virtually the same scene as Renoir's masterpiece of the same name. Picasso's palette is darker than Renoir's, his mood more intense. In "Young Girl Wearing a Large Hat" (1901) we see a decisively impressionist piece; the colors are bright and lively, even as the girl's intense stare haunts the viewer. The elongated brush strokes in this painting are reminiscent of Van Gogh. However, Picasso's solid blocks of rich jewel tones in "Spanish Couple Before An Inn" (1900) evoke Matisse or Gaugin. His versatility already apparent, Picasso's early training helped him develop the technical skills required to master his profession. But soon the artist yearned to break free of the confines of traditional techniques, even the newer Impressionistic ones. As personal, unique expression became increasingly in vogue by the turn of the century, Picasso was able to dive into new visual territory.

During his stay in Paris, Picasso's work evolved into what art historians call his "blue period." With a palette comprised almost entirely of shades of blue, Picasso portrayed his subjects with melancholy simplicity. The "Blue Nude" (1902) utilizes an economy of line to convey the actual subject, but the canvass is splashed, almost sponge-like, with violet and blue hues. His 1901 "Self-Portrait" contains a stark contrast of his pale face against black robes; the background is a uniform midnight blue. The sombre feel of these blue period pieces yielded to the slightly more cheerful "rose period," during which Picasso switched his primary palette from blues to beiges and pinks. The Degas-like "Woman in a Chemise" (1904-5) shows the waif-like model in sinewy form and delicate line.

Cezanne's comprehension of the geometry inherent in the physical universe inspired Picasso and Braque to further deconstruct reality on the canvas. The early cubists bordered on total abstraction as they broke apart the essential elements of a material form. "Woman in Green" (1909) is especially three-dimensional in its depiction of the female bust. Lines are straight and geometric, the colors earthy, creating a multifaceted two-dimensional work. Likewise, "Girl with a Mandolin" (1910) uses an earthy palette; the form of the woman is broken down even further into segments. The result is an almost cerebral art, one that relies on conception rather than pure reality. Objects are depicted in a scientific, mathematical manner. Multiple planes and dimensions became even more pronounced in Picasso's collage work. "Glass and Bottle of Suze," (1912) celebrates shape and form in a cut-and-paste version of reality. Picasso continued the cubist trend even as his lines softened and his colors brightened. "Girl Reading at a Table" (1934) is a passionate, almost classical painting. The sensuous lines, although clearly cubist, contain a sense of passion almost absent in his earlier cubist works. Similarly, "Mother and Son" (1938) uses bright colors and curvaceous lines to convey tenderness and love. Picasso's colossal, monochromatic "Guernica" (1939) imparts pain, brutality, and death using cubist elements. The lack of color in "Guernica" is a testament to Picasso's bitterness over the Spanish Civil War. Picasso's late works varied greatly in content and style. His 1972 "Self-Portrait" is a poignant example of the versatility of this magnificent, dynamic artist.