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Mother and Child
1921
Oil on Canvas, 56.5" x 64" (143.5 x 162.6cm)
A monument of Picasso's own brand of neoclassicism. Taking a stale
and shopworn pictorial idiom. Picasso creates a new style by simple
pictorial means earth-colored, broadly brushed drawing. One seems
reminiscences of Etruscan mirrors, Greek ceramics and Hellenistic
sculpture. The painting originally included a bearded father to the
viewer's left. Picasso eventually cut the figure out in order to
allow for an intense concentration on mother and child, and later
presented the fragment to the Art Institute.
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Man with a Pipe
Oil on Canvas, 51.25 x 35.25 (130.3 x 89.5
cm)
Picasso's experiments with collage are exemplified in this picture, in which
pieces of wood, wire, paper, and string are distorted by the artist into a flat
composition. The austerity of feeling evoked in Picasso's earlier works in
Analytic Cubism is abandoned in this second Cubist phase often called
"Synthetic Cubism in which his forms are synthesized and reduced to
basic element and shapes all in terms of soft, but ravishing color.
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The Old Guitarist
Oil on Panel, 1903
122.9 x 82.6 cm
No artist has dominated the 20th century in the way Pablo Picasso
has. This extraordinarily gifted Spanish artist, working most of his
life in France, produced a voluminous body of work in a variety of styles
that influenced nearly every major trend of the first half of the 20th
century. When Picasso painted The Old Guitarist in 2903, the
young and struggling artist was following in the footsteps of
Toulouse-Lautrec and other modern artists. His subjects were
society's outcasts, lonely figures whom he rendered in an all-pervasive
blue that creates a melancholy mood.
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Guitar and Violin
Oil on Canvas, Circa 1912
65.5 x 54.3 cm
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Daniel-Henry Kahnweiler
Oil on Canvas, 1910
101.1 x 73.3 cm
Cubism challenged the tradition of considering painting as an orderly
spatial unity that mirrors reality. Instead of seeing painted equivalents
of recognizable things, the viewer was presented with objects represented
simultaneously from several points of view. In Picasso's portrait of his
dealer Daniel-Henry Kahnweiler,the subject's head, suit, hands, and
a still life to the left remain identifiable. But they have been broken up
into planes that have been flattened and arranged across the picture
surface as if to remind us that this portrait of Kahnweiler is, after all,
a painting.
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