the first communion picasso
Breakfast of the Blind by Pablo Picasso It is very difficult to say what caused the “blue period” of the great master’s creativity. A young boy, a little over 20, Pablo Picasso was immersed in the dramatic.
Knowledge and Mercy by Pablo Picasso In 1897, Picasso, following the advice of his father, wrote a huge canvas – 197 centimeters high and 249.5 centimeters wide – in an academic manner. Without a doubt, it.
2. Picasso’s interest in art developed at a young age: he began drawing by age 7, he completed his first painting by age 9, and at age 14 he began “The First Communion.”
3. Jose Ruiz Blasco, Picasso’s father and an accomplished artist in his own right, recognized his son’s artistic streak. He nurtured Picasso’s talent and admitted it even surpassed his own. When Picasso was around 13, Ruiz Blasco presented Picasso with his own palette and brushes and vowed never to paint again. Ruiz Blasco continued to teach at art schools, but could never bring himself to paint.
Science and Charity by Picasso (1897)
In September 1895, the family made the sea passage from La Corunna to Barcelona, stopping off in Malaga to visit relatives. Once in Barcelona, Pablo entered the local art academy, La Llojta School of Fine Arts, where his father had just gained the post as professor of drawing. As far as Picasso and his father were concerned this was a great move as they were leaving the northern provincial town of La Corunna and moved to the great artistic centre of the Catalan capital. Barcelona was the making of the adolescent Picasso. It is in the Catalan city that Picasso starts to look into two utterly diverse worlds, the world of religion and the world of sex. Pablo often received religious guidance from his wealthy and devout uncle, Doctor Salvador Ruiz, who would also aid him financially and who first met with young Pablo at his birth when he breathed life into what, at first, was considered to be a still-born baby. His sex education comes to the fourteen year old Picasso by way of his frequent visits to the city brothels in the Barrios Chino.
“It’s not just that Picasso could render well, because you could teach anybody to do that,” Fineberg says. Maybe not anybody, but the point stands—technique can be taught, creative vision cannot. “It’s not about skill. It’s about unique qualities of seeing. That’s what makes Picasso a better artist than Andrew Wyeth. Art is about a novel way of looking at the world.” You may prefer Wyeth, or think the downward comparison unfair, but there’s no denying Picasso had a very “novel way of seeing,” from his earliest sketches to his most revolutionary modernist masterpieces. See several more highly accomplished early works from Picasso here.
What likely most disturbed those first viewers was the perceived violence done to tradition. While we cannot recover the tender sensibilities of early 20th-century Parisian critics, we can, I think, experience a similar kind of shock by looking at work Picasso had done ten years earlier, such as the 1896 First Communion, further up, and 1897 study Science and Charity at the top, conservative genre paintings in an academic style, beautifully rendered with exquisite skill by a then 15-year-old artist. See an earlier drawing, Study for a Torso, above, completed in 1892 when Picasso was only 11.
“My whole life as an artist has been nothing other than a continual struggle against the forces of reaction and the death of art.” PICASSO
From 1925 to 1936 Picasso created a copious amount of sculpture. It was his experiments with these three-dimensional forms that allowed him to juxtapose both forms of media to make an interplay of forms, restless shapes that open and close, become abstract in character yet reminiscent of human shape, rounded and fluid protruding in a transitional smoothness from an amorphous mass. His sketchbooks from 1927 show an endless variation on the subject of bathers. Picasso spent most of his summers at the beach and in that year he met a young woman, Marie Therese Walther, who became his secret lover and inspiration for much of his erotic work. Drawing on Surrealist imagery, he formalised his work into shapes that could be both mechanical and organic, dissecting structures and reconfiguring them (www.metmuseum.org). It culminated in the painting Bather with Beach Ball (1932) where the figure fills the canvas. The clumsiness of the body, the pattern of the bathing suit, the beach cabin and the sea are a humorous view of life at the seaside.