Seated Woman ()
The year that gave us Guernica, and all the study pieces for it, also provided several other significant artworks, including this one. Artist Picasso creates a sense of movement and depth in the painting through use of Cubist spatial techniques and tones of greens against reds. The intention was to draw the model closer to the foreground, and reduce focus on other elements of the work. There are similarities with his Harlequin series within this canvas, brightly colouring outfits to produce an atmosphere of fun and joviality. Many would argue that his muse appears as if a playing card figure, be it a King, Queen or Jack. The Cubist style adds to this, as well as the bright colours which are synonamous with traditional playing card design.
Black and white lines are used to contain areas of bright colour in clear sections, similar to how Piet Mondrian or Roy Lichtenstein would create their own modern art. Whilst they would produce abstract and cartoon styles themselves, the technique still worked with Picasso's cubist painting] of Seated Woman. The cubist form of this portrait helps to lift Marie-Therese projects from the canvas, creating depth to the work. M
Seated Woman
"Seated Woman" is the first sculpture made by Picasso and depicts one of the artist’s most repeated motifs – the individual figure. Picasso had begun to frequent sculptors as early as , when he met Mateu Fernández de Soto and Jaume Sabartés, and later on Manolo Hugué, Julio González, Carles Mani and Emili Fontbona. However, it was not until that he himself took the plunge and began to explore the medium under the guidance of Fontbona, whom he had occasionally portrayed. This small figure was initially modelled in clay by Picasso in Fontbona’s workshop, located in his family’s summer home on 6 Carrer Pàdua in Barcelona’s Sant Gervasi district, and subsequently cast in bronze in an edition of thirteen. The original terracotta is now in the Musée Picasso in Paris.
"Seated Woman", a solid, compact sculpture that can be viewed from multiple angles, was made when Picasso began to explore a new creative process characterised by a drastic reduction in colour and by formal and conceptual revisions of his oeuvre. The motif of the seated woman, downcast and lost in the experience of her own destiny, appears in certain drawings and paintings of the per
SEATED WOMAN
Femme assise
Oil on canvas
81x65 cm
Fernande Olivier
million
In May , Pablo Picasso and Fernande Olivier went to Spain for the summer: through Barcelona, they travelled to Horta-de-Ebro (presently known as Horta-de-San-Juan), a remote village in Catalonia that could only be reached by riding a mule, and stayed there till September. The summer spent at Horta turned out to be one of the most significant periods in Picasso's creative work: a number of Fernande's portraits and several landscapes he painted then are now generally recognized as forerunners of cubism. The "Femme Assise" ("Seated Woman") painted in is one of a series of canvases which became a breakthrough in art: in it, Picasso first introduced a completely novel approach to representing form, later described as "analytical cubism".
The development of cubism is inseparably linked to a friendship between Pablo Picasso and Georges Braque. The two met in the winter of and, through a mutual exchange of ideas, forged a new visual language that greatly influenced the art of both. During the summer of , as Picasso was staying in Horta-de-Ebro, Braque, too, left Paris in search of inspir
Woman with a Fan, by Pablo Picasso
The heroic image of Paul Cezanne depends upon the notion of a constant battle between his innately passionate temperament and his conscious, reasoned quest for le style, and Cezanne was described as the one fundamentally classical painter of his generation, 'the Poussin of Impressionism'. This was a widespread perception, and it is clear that as Picasso emerged from his 'exorcist' phase in Cezanne served to bridge the gulf between art negre and the classical tradition.
In Woman with a Fan (), which was probably painted in the late spring, a beautiful and very personal balance between the differing voices of Cezanne, art negre and early Greek sculpture is achieved, and achieved, it seems, quite naturally, without tortured struggle.
A radiograph of this head area of the Woman with a Fan shows that Picasso began by following the drawing in making the woman stare directly out at the spectator, in the completed painting it is the single uncovered breast which, Cyclops-like, stares unblinkingly, and all trace of individuality has been erased. With her white shift, rigid pose and throne-like seat, the
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