The Art of Pablo Picasso 19061909 the African Period Pdf

Painting series by Pablo Picasso

Picasso's African Menstruation, which lasted from 1906 to 1909, was the period when Pablo Picasso painted in a style which was strongly influenced past African sculpture, particularly traditional African masks and art of aboriginal Egypt, in addition to non-African influences including Iberian sculpture, and the art of Paul Cézanne and El Greco. This proto-Cubist period following Picasso's Bluish Catamenia and Rose Period has also been called the Negro Period,^[one] or Black Flow.^{[ii] [3]} Picasso nerveless and drew inspiration from African art during this menses, but also for many years after it. ^[four]

Context and flow [edit]

In the early on 20th century, African artworks were being brought to Paris every bit a consequence of the expansion of the French empire into Sub-Saharan Africa. The press was abuzz with exaggerated stories of cannibalism and exotic tales about the African kingdom of Dahomey. The mistreatment of Africans in the Belgian Congo was exposed in Joseph Conrad's popular book Middle of Darkness. It was perhaps due to this climate that Picasso and other artists began looking towards African art for inspiration. Picasso'due south interest in African art was sparked partly by Henri Matisse who showed him a wooden Kongo-Vili figurine.^[5]

In May or June 1907, Picasso experienced a "revelation" while viewing African fine art at the ethnographic museum at the Palais du Trocadéro.^{[6] [7]} Picasso's discovery of African art influenced aspects of his painting Les Demoiselles d'Avignon (completed in July of that year), especially in the treatment of the faces of ii figures on right side of the composition. Although many modern fine art curators accept attempted to match private African masks with the faces of these figures, the African masks used in these examples have non ever been authentic, and the artist took ideas from multiple works. ^[8]

Picasso continued to develop a style derived from African, Egyptian, and Iberian art during the years prior to the first of the analytic cubism phase of his painting in 1910. Other works of Picasso'southward African Menstruum include the Bust of a Woman (1907, in the National Gallery, Prague); Mother and Child (Summer 1907, Musée Picasso, Paris); Nude with Raised Arms (1907, Thyssen-Bornemisza Museum, Madrid, Spain); and Three Women (Summer 1908, Hermitage Museum, Saint petersburg).

Controversy [edit]

In historical reflection, a few bug have been pointed out including questioning the origins of this genre of art for Picasso. Primitivism every bit an aesthetic was often used by Europeans borrowing from non-Western cultures.^[ix] While it is clear Picasso was inspired heavily by aesthetics from cultures not his own, many fine art historians and critics have argued that this sort of borrowing was a modernist expression.^[10]

Fine art historian Kobena Mercer covers Picasso'south Demoiselles d'Avignon in his book on black diasporic fine art titled Travel and See. He argues Picasso's stylistic change towards an African inspired aesthetic was individualistic and modern while minority artists receive piddling to no recognition for their work inspired by their ain culture.^[11]

It could likewise exist seen as problematic that in Demoiselles d'Avignon the women painted wearing African-like masks are meant to be prostitutes from Barcelona's red-calorie-free commune. Picasso masks these white bodies in order to make their sexualization adequate to a European audience.^[12] Picasso himself though said about painting "It'south not an aesthetic procedure; it's a class of magic that interposes itself between us and the hostile universe, a ways of seizing power by imposing a form on our terrors likewise equally on our desires." To him, these masks were a people's connection between themselves and the hostile universe he wanted his art to confront. ^[13]

In February of 2006, an exhibition titled "Picasso and Africa" showcasing Picasso'south work from his African period besides as many African sculptures similar to ones he would have been inspired by where shown next in Johannesburg, Due south Africa at the Standard Depository financial institution Gallery. A curator involved in the exhibition, Marylin Martin quoted to an article for the Guardian "Picasso never copied African art, which is why this bear witness does not lucifer a specific African work with a Picasso", the goal of the exhibition was non to charge Picasso of stealing but to show how he transcended it and created a new aesthetic combining his own and his inspiration.^[14]

Image gallery [edit]

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  Pablo Picasso, 1907, Nu à la serviette, oil on canvass, 116 x 89 cm

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  Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

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  Pablo Picasso, 1907, Nu aux bras levés (Nude)

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  Pablo Picasso, 1907, Head of a Sleeping Adult female (Study for Nude with Drapery), oil on canvas, 61.iv x 47.6 cm, The Museum of Modernistic Art, New York

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  Pablo Picasso, 1907-08, Vase of Flowers, oil on sail, 92.1 x 73 cm, Museum of Modernistic Art, New York

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  Pablo Picasso, 1908, Bols et flacons (Pitcher and Bowls), oil on canvas, 66 ten 50.5 cm, Hermitage Museum, Leningrad, Russian federation

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  Pablo Picasso, 1908, Dryad, oil on canvas, 185 x 108 cm, The State Hermitage Museum, St Petersburg

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  Pablo Picasso, 1908, Trois femmes (Iii Women), oil on canvas, 200 10 185 cm, Hermitage Museum, Saint Petersburg

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  Pablo Picasso, 1908, Seated Woman (Meditation), oil on sheet, 150 10 99 cm, Hermitage Museum, Saint Petersburg

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  Pablo Picasso, 1908, Paysage aux deux figures (Landscape with Ii Figures), oil on sail, 60 x 73 cm, Musée Picasso, Paris

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  Pablo Picasso, 1909, Nature morte à la brioche

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  Pablo Picasso, 1909, Brick Manufacturing plant at Tortosa (L'Usine, Horta de Ebro), oil on sail, 50.7 x threescore.ii cm, The State Hermitage Museum, St. petersburg

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  Pablo Picasso, 1909, Maisons à Horta (Houses on the Hill, Horta de Ebro), oil on canvas, 65 x 81 cm, private collection

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  Pablo Picasso, 1909, Harlequin (L'Arlequin)

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  Pablo Picasso, 1909, Buste de femme (Femme en vert, Femme assise), oil on canvas, 100.3 10 81.iii cm, Van Abbemuseum, Netherlands. This painting from the collection of Wilhelm Uhde was confiscated by the French land and sold at the Hôtel Drouot in 1921

See also [edit]

• List of Picasso artworks 1901–1910

Notes [edit]

1. ^ Howells 2003, p. 66.
2. ^ Christopher Green, 2009, Cubism, MoMA, Grove Fine art Online, Oxford Academy Press
3. ^ Douglas Cooper, The Cubist Epoch, London: Phaidon in association with the Los Angeles County Museum of Fine art & the Metropolitan Museum of Art, 1970. ISBN 0-87587-041-4
4. ^ Peter Stepan, Picasso'due south Collection of African & Oceanic Art: Masters of Metamorphosis, Munich: Presel, 2006.
5. ^ Matisse may take purchased this piece from Emile Heymann's shop of not-western artworks in Paris, run across PabloPicasso.org.
6. ^ Picasso, Rubin, and Fluegel 1980, p. 87.
7. ^ The artists and writers close to him long claimed this visit to the museum took place later, peradventure even later on the painting was completed.^{[ citation needed ]}
8. ^ Joshua I. Cohen, "Picasso'south African Influences," in The "Black Art" Renaissance: African Sculpture and Modernism across Continents, Oakland: University of California Press, 2020.
9. ^ "Eye Investigador en Art Primitiu i Primitivisme (UPF)".
10. ^ Burgard, Timothy Anglin (1991). "Picasso and Appropriation". The Art Bulletin. 73 (3): 479–494. doi:10.2307/3045817. JSTOR 3045817.
11. ^ Mercer, Kobena (2016). Travel and See. Durham and London: Duke Academy Press. p. 236.
12. ^ "Pablo Picasso. Les Demoiselles d'Avignon. Paris, June-July 1907 | MoMA".
13. ^ Meldrum, Andrew (15 March 2006). "Andrew Meldrum: How much did Picasso's paintings infringe from African fine art?". The Guardian.
14. ^ Meldrum, Andrew (15 March 2006). "Andrew Meldrum: How much did Picasso'due south paintings borrow from African art?". The Guardian.

References [edit]

• Barr, Alfred, H, Jr. Picasso: 50 Years of His Art (1946)
• Richardson John. A Life of Picasso. The Prodigy, 1881-1906. New York: Alfred A. Knopf, 1991. ISBN 978-0-307-26666-eight
• Richardson, John. A Life of Picasso, The Cubist Rebel 1907-1916. New York: Alfred A. Knopf, 1991. ISBN 978-0-307-26665-1
• Picasso, P., Rubin, W. S., & Fluegel, J. Pablo Picasso, a retrospective. New York: Museum of Modern Fine art, 1980. ISBN 0-87070-528-8
• Rubin, West. S. "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern. New York: Museum of Mod Art, 1984. ISBN 0-87070-534-2
• Howells, R. Visual Culture. Wiley-Blackwell, 2003. ISBN 0-7456-2412-X

^{[i] [ii] [3] [4] [5]}

1. ^ Mercer, Kobena. Travel and Run into: Black Diaspora Art Practices since the 1980s. Duke University Press, 2016.
2. ^ Meldrum, Andrew. "Andrew Meldrum: How Much Did Picasso's Paintings Infringe from African Art?" The Guardian, Guardian News and Media, 15 Mar. 2006, www.theguardian.com/artanddesign/2006/mar/fifteen/art.
3. ^ Picasso, Pablo. "Pablo Picasso. Les Demoiselles D'Avignon. Paris, June-July 1907: MoMA." The Museum of Modern Art, www.moma.org/collection/works/79766.
4. ^ "Centre Investigador En Art Primitiu i Primitivisme." Centre Investigador En Art Primitiu i Primitivisme (UPF), www.upf.edu/en/web/ciap/inici.
5. ^ Burgard, Timothy Anglin. "Picasso and Appropriation." The Art Bulletin, vol. 73, no. 3, 1991, pp. 479–494. JSTOR, www.jstor.org/stable/3045817. Accessed half dozen May 2020.

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Source: https://en.wikipedia.org/wiki/Picasso%27s_African_Period

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