Pablo Picasso`s Plitical Views

Picasso remained neutral during Worl War, the Spanish Civil War, and World War 2, refusing to fight for any side in Century. some of his contemporaries felt that his Spacifism had more to do with cowardice tha priciple. As a Spanish Citizen Living in France,Picasso was under no compulsion to fight against the invading Germans in World War 2. While Picasso expressed anger and cordemation of Francisco France and fascists through his art, he did not take arms up against them. In 1944 Picasso joined the French Cumminist Party, attended an international peace conference in Poland, and in 1950 received the Lenin Peace Prize from the Soviet government. But party's ctiticism of a portrait of stalin as a insufficiently realistic cooled Picasso's interest in communist Party until his death. He was against the intervention of the united nations. The united nations and the united states in the Korean war and he depicteded it in Massacre in Korea. In 1962 he received the international Lenin Peace Prize.   

The Futurist Manifesto

The Futurist manifesto, written by Filippo Tommaso Marinetti, was published in French in "Le Figaro" on 20th February 1909. It launched as an art movement, futurism that rejected the past, celebrated speed, machinery, violence, youth and industry, and sought the modernisation and cultural rejuvenation of Italy. The founding and manifesto of Futurism allows a sharper comprehension of a cultural evolution in Italy at the beginning of the 20th century, meant as an intellectual avant-garde.

Manifesto

MANIFESTO OF FUTURISM

1.We want to sing the love of danger, the habit of energy and rashness.

2.The essential elements of our poetry will be courage, audacity and revolt.

3.Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.

4.We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.

5.We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.

6.The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.

7.Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.

8.We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.

9.We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.

10.We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.

11.We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.

Pablo Picasso

                            "Art is a lie that makes you realize the trueh"

                                                                                    -Picasso

Pablo Picasso (25 October 1881-8 April 1973):

 
His full name Pablo Diego José Francisco de Paula Juan Nepomuceno Maria de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso.
He was a Spanish painter, a draughtsman and sculptor, the most recognized figur in the 20th century of art.
Best  known for co-founding the Cubist movement and for the wide variety of styles embodied in his work.

His most famous works are the proto- Cubist ...



... "Les Demoiselles d'Avignon" (1907) Oil on canvas...

(This is a large oil painting of 1907.The work portrays five nude female prostitutes from a brothel on Avinyó Street in Barcelona. Each is depicted in a disorienting confrontational manner and none are conventionally feminine. The women appear as slightly menacing and rendered with angular and disjointed body shapes. Two are shown with African mask-like faces and three more with faces in the Iberian style of Picasso's native Spain, giving them a savage aura. In this adaption of Primitivism and abandonment of perspective in favor of a flat, two-dimensional picture plane, Picasso makes a radical departure from traditional European painting. The work is widely considered to be seminal in the early development of both Cubism and modern art.)

... and "Guernica"(1937)Oil on canvas...

(Guernica shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. This work has gained a monumental status, becoming a perpetual reminder of the tragedies of war, an anti-war symbol, and an embodiment of peace. On completion Guernica was displayed around the world in a brief tour, becoming famous and widely acclaimed. This tour helped bring the Spanish Civil War to the world's attention.)

..."Three Musicians" (1921)...

(The central figure is a Harlequin playing a guitar, with two musicians by his sides. There is also a dog that can be seen to the left of the musicians with his ears clearly visible. Three musicians made of flat, brightly colored, abstract shapes in a shallow, boxlike room.)

...Picasso demonstrated uncanny artistic talent in his early years, painting in a realistic manner through his childhood and adolescence; during the first decade of the twentieth century his style changed as he experimented with different theories, techniques, and ideas. Picasso’s creativity manifested itself in numerous mediums, including painting, sculpture, drawing, and architecture. His revolutionary artistic accomplishments brought him universal renown and immense fortunes throughout his life, making him the best-known figure in twentieth century art.

Synthetic Cubism

The second phase of Cubism, known as Synthetic Cubism in 1912, emerged from a new technique of Papiers Collage begun by Georges Braque.
Pursued by Braque, Picasso and Juan Gris in Collaboration. Colour is extremely important, in pieces and shapes, they became larger and more decorative. Smooth and rough surfaces and contrasted with another, and frequently non-painted object like newspaper or tobacco wrappers.

Pablo Picasso

Still Life with Mandolin and Guitar (oil on canvas, 1924)

Interchanging lines, colours, patterns and textures,it switches from geometric to freehand, dark to light, positive to negative and plain to patterned, advance and recede in rhythms across the picture plain.

Cubsim

Cubism was created by the painters Pablo Picasso and Georges Braque
in Paris between 1907 and 1914.
It was the most important and certainly the most complete and radical
artistic revelution since the Renaissance.It is generally accepted that
the movement was inaugurated by Picasso`s...

..."Les Demoiselles d'Avignon" (The Young Ladies of Avignon) large oil painting in 1907

...and Braque`s "Large Nude"Paris, spring 1908 Oil on canvas.

From 1911-1912 Cubism became more widely known Internationally and provided the impulse which inspired a number of related movements.

In it`s Origins Cubism was a technique of Realism.

Picasso and Braque during these early years prefered neutral subject matter, avoiding themes with any strong human appeal or emotional associations, and began to practise a near- monochrome, paintings in order to eliminate the emotional overtones of colours.