ePUB Elizabeth Cowling ✓ ePUB Picasso portraits MOBI ¼ ✓ moncler2018.co

From first to last Picasso s prime subject was the human figure and portraiture remained a favourite genre His earliest portraits were done from life and reveal a precocious ability to catch likeness and suggest character and state of mind By 1900 Picasso was producing portraits of astonishing variety and thereafter they reflected the full range of his innovative styles symbolist cubist neoclassical surrealist expressionist But however extreme his departure from representational conventions Picasso never wholly abandoned drawing from the sitter or ceased producing portraits of classic beauty and naturalism For all his radical originality Picasso remained in constant dialogue with the art of the past and his portraits often alluded to canonical masterpieces chosen for their appropriateness to the looks and personality of his subject Treating favourite Old Masters as indecorously as his intimate friends he enjoyed caricaturing them and indulging in fantasies about their sex lives that mirrored his own obsession with the interaction of eroticism and creativity His late suites of free variations after Velázuez s Las Meninas and Rembrandt s The Prodigal Son both of which involve self portraiture allowed him to ruminate on the complex psychological relationship of artist and sitter and continuities between past and present When Picasso depicted people in his intimate circle the nature of his bond with them inevitably influenced his interpretation The focus of this book is not however Picasso s life story but his creative process and although following a broadly chronological path its chapters are structured thematically Issues addressed in depth include Picasso s exploitation of familiar poses and formats his sources of inspiration and identification with favourite Old Masters the role of caricature in his expressive conception of portraiture the relationship between observation memory and fantasy critical differences between his portrayal of men and women and the motivation behind his defiance of decorum and the extreme transformation of his sitter s appearanceFrom first to last Picasso s prime subject was the human figure and portraiture remained a favourite genre His earliest portraits were done from life and reveal a precocious ability to catch likeness and suggest character and state of mind By 1900 Picasso was producing portraits of astonishing variety and thereafter they reflected the full range of his innovative styles symbolist cubist neoclassical surrealist expressionist But however extreme his departure from representational conventions Picasso never wholly abandoned drawing from the sitter or ceased producing portraits of classic beauty and naturalism For all his radical originality Picasso remained in constant dialogue with the art of the past and his portraits often alluded to canonical masterpieces chosen for their appropriateness to the looks and personality of his subject Treating favourite Old Masters as indecorously as his intimate friends he enjoyed caricaturing them and indulging in fantasies about their sex lives that mirrored his own obsession with the interaction of eroticism and creativity His late suites of free variations after Velázuez s Las Meninas and Rembrandt s The Prodigal Son both of which involve self portraiture allowed him to ruminate on the complex psychological relationship of artist and sitter and continuities between past and present When Picasso depicted people in his intimate circle the nature of his bond with them inevitably influenced his interpretation The focus of this book is not however Picasso s life story but his creative process and although following a broadly chronological path its chapters are structured thematically Issues addressed in depth include Picasso s exploitation of familiar poses and formats his sources of inspiration and identification with favourite Old Masters the role of caricature in his expressive conception of portraiture the relationship between observation memory and fantasy critical differences between his portrayal of men and women and the motivation behind his defiance of decorum and the extreme transformation of his sitter s appearanceFrom first to last Picasso s prime subject was the human figure and portraiture remained a favourite genre His earliest portraits were done from life and reveal a precocious ability to catch likeness and suggest character and state of mind By 1900 Picasso was producing portraits of astonishing variety and thereafter they reflected the full range of his innovative styles symbolist cubist neoclassical surrealist expressionist But however extreme his departure from representational conventions Picasso never wholly abandoned drawing from the sitter or ceased producing portraits of classic beauty and naturalism For all his radical originality Picasso remained in constant dialogue with the art of the past and his portraits often alluded to canonical masterpieces chosen for their appropriateness to the looks and personality of his subject Treating favourite Old Masters as indecorously as his intimate friends he enjoyed caricaturing them and indulging in fantasies about their sex lives that mirrored his own obsession with the interaction of eroticism and creativity His late suites of free variations after Velázuez s Las Meninas and Rembrandt s The Prodigal Son both of which involve self portraiture allowed him to ruminate on the complex psychological relationship of artist and sitter and continuities between past and present When Picasso depicted people in his intimate circle the nature of his bond with them inevitably influenced his interpretation The focus of this book is not however Picasso s life story but his creative process and although following a broadly chronological path its chapters are structured thematically Issues addressed in depth include Picasso s exploitation of familiar poses and formats his sources of inspiration and identification with favourite Old Masters the role of caricature in his expressive conception of portraiture the relationship between observation memory and fantasy critical differences between his portrayal of men and women and the motivation behind his defiance of decorum and the extreme transformation of his sitter s appearance