Thursday, May 17, 2012

Pablo Picasso

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Pablo Picasso

I have researched into Pablo Picasso, and have found one of his linoleum cuts. The linoleum cut is called Still Life under a Lamp,  it is the most brilliant example of Picassos one-block linoleum cuts. It represents well, too, highly decorative turn his vision took in his last decade. This print, created when he was eighty years old, combines a youthful energetic sweep of line and colour with an older nostalgia for quaint patterns. It is, altogether, a satisfying blend. This exceptional use of the rather lifeless linoleum vivifies the layers of flat unmodulated color and allows the exposed paper to become the source of light.

Throughout his career, Picassos superb draftsmanship served many subjects. His father taught him the importance of drawing, which thereafter was the dominant occupation of his life. From his earliest years he filled all available surfaces with instant sketches. There are thousands who posses menus, paper money, cafe napkins, and books of every sort with the special sketches that Picasso made within a matter of seconds especially for them. For Picasso drawing was a natural function that only death could halt. In his later years, after he had moved to the South of France and had fewer diversions, he filled hours between painting , sculpting, and pottery-making with drawing. Long series of compositions such as the 180 drawings he did in 15-54, published as Picasso and the Human Comedy, became an integral part of his life. Almost entirely devoted to his now traditional subjects

He painted in the Impressionistic manner, but sheared off in a different direction to the main body of Impressionist painters. The main body of Impressionist painters were concerned with the fleeting effects of light and colour, and in order to capture the surface impression of that moment they had to work fluently and quickly. Far more prolonged and pains taking; he spent so long analysing his subjects that some of his work was never finished.


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He painted in the Impressionistic manner, but sheared off in a different direction to the main body of Impressionist painters. The main body of Impressionist painters were concerned with the fleeting effects of light and colour, and in order to capture the surface impression of that moment they had to work fluently and quickly.


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