garcon a la pipe : definition of garcon a la pipe and synonyms of garcon a la pipe (English) The painting Preparation Early preparations of this work involved positioning the boy in all types of poses that involved standing, sitting or leaning against the wall. [1] After much repositioning of the model, Picasso decided to go with the boy sitting down. Next was how to position the arm, where much time was also spent on the height and angle. Early works do not show any objects other than a pipe being used. Although Picasso started to paint this picture, he gave it a rest period for about a month. During this time, Picasso decided to finish it off by placing a garland of flowers on the boy's head. [1] The boy Le Bateau-Lavoir in Montmartre is where Picasso was living when he painted the picture. Some of the local people made a living in the entertainment industry, such as being clowns or acrobats. Picasso used many local people in his pictures, but little is known about the boy in the picture.

What appears to be fact from comments made from a variety of sources is that the boy was a model in his teen years who hung around Picasso's studio and volunteered to pose for the oil work. [2] Picasso's own comments about the boy were that he was one of the: “ local types, actors, ladies, gentlemen, delinquents... He stayed there, sometimes the whole day. He watched me work. He loved that. ” From this comment, suppositions can be made. The first is that Picasso did not want people to know who the boy is, and the second is Picasso did not really know the boy. However, many reports have been made that say the boy is “p’tit Louis”, [1] [3] or "Little Louis". [4] Provenance The painting was first bought by John Hay Whitney in 1950 for US$ 30,000. [5] [6] On May 5, 2004 the painting was sold for US$ 104,168,000 at Sotheby's auction in New York City .

Sotheby’s did not name the buyer [6] though sources say that it was Guido Barilla , owner of the Barilla Group . [7] At the time, it broke the record for the amount paid for an auctioned painting (when inflation is ignored). The amount, US$ 104 million, includes the auction price of US$ 93 million plus the auction house’s commission of about US$ 11 million. [6] The painting was given a pre-sale estimate of US$ 70 million by the auction house. [5] [6] Many art critics have stated that the painting's high sale price has much more to do with the artist's name than with the merit or historical importance of the painting. The Washington Post 's article [8] [9] on the sale contained the following characterisation of the reaction: “ Picasso expert Pepe Karmel, reached in New York the morning after the sale, was waxing wroth about the whole affair. "I'm stunned," he said, "that a pleasant, minor painting could command a price appropriate to a real masterwork by Picasso.

This just shows how much the marketplace is divorced from the true values of art." ” The Life of Picasso at Picasso.com Links Life Pablo Ruiz Picasso (b. 1881, d. 1973) is probably the most important figure in 20th Century art. Time magazine art critic Robert Hughes once said that "To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace. Before his 50th birthday, the little Spaniard from Malaga had become the very prototype of the modern artist as public figure. No painter before him had had a mass audience in his own lifetime." He was born October 25, 1881 in Malaga, Spain and by the time he died in France in April of 1973, had created a staggering 22.000 works of art in a variety of mediums, including sculpture, ceramics, mosaics, stage design and graphic arts.

As critic Hughes notes, "There was scarcely a 20th century movement that he didn't inspire, contribute to or--in the case of Cubism , which, in one of art history's great collaborations, he co-invented with Georges Braque--beget." Quite simply, as well as being a force of culture, Picasso was also a force of nature. Early Life and Work A precocious draftsman, Picasso was admitted to the advanced classes at the Royal Academy of Art in Barcelona at 15. After 1900 he spent much time in Paris, remaining there from 1904 to 1947, when he moved to the South of France. His power is revealed in his very early works, some of which were influenced by Toulouse-Lautrec (such as Old Woman, 1901; Philadelphia Mus. of Art). Picasso's artistic production is usually described in terms of a series of overlapping periods. In his "Blue Period" 1901-4 he depicted the world of the poor. Predominantly in tones of blue, these melancholy paintings (such as The Old Guitarist, 1903; Art Inst.

of Chicago) are among the most popular art works of the century. Canvases from Picasso's "Rose Period" 1905-06 are characterized by a lighter palette and greater lyricism, with subject matter often drawn from circus life. Picasso's Parisian studio attracted the major figures of the avant-garde at this time, including Matisse , Braque , Apollinaire , and Gertrude Stein. He had already produced numerous engravings of great power and began his work in sculpture during these years. Cubism In 1907 Picasso painted Les Demoiselles d'Avignon (Mus. of Modern Art, New York City), a radical departure from the artistic ideas of the preceding ages and now considered the most significant work in the development toward cubism and modern abstraction (see modern art). The influence of Cézanne and of African sculpture is apparent in its fragmented forms and unprecedented distortions. The painting heralded the first phase of cubism, called analytic cubism. This severe, intellectual style was conceived and developed by Picasso, Braque, and Gris c.1909-12. Picasso's Female Nude (1910-11; Philadelphia Mus.

of Art) is a representative painting and his Woman's Head (1909; Mus. of Modern Art, New York City) a representative sculpture of this style. In the synthetic phase of cubism (after 1912) his forms became larger and more representational, and flat, bright decorative patterns replaced the earlier, more austere compositions. The Three Musicians (1921; Mus. of Modern Art, New York City) exemplifies this style. Picasso's cubist works established firmly that the work of art may exist as a significant object beyond any attempt to represent reality. During both periods of cubism experiments by Picasso and others resulted in several new techniques, including collage and papier collé. Other Stylistic Innovations Picasso's enormous energy and fecundity was manifested by another development. In the 1920s he drew heavily on classical themes and produced magnificent monumental nudes and monsters that were reminiscent of antiquity and rendered with a certain anguished irony. These works appeared simultaneously with synthetic cubist paintings. Picasso was for a time saluted as a forerunner of Surrealism , but his intellectual approach was basically antithetical to the irrational aesthetic of the Surrealist painters.

The artist sought to strengthen the emotional impact of his work and became preoccupied with the delineation of agony. In 1937 the bombing of the Spanish town of Guernica impelled him to produce his second landmark painting, Guernica (Queen Sophia Center of Art, Madrid), an impassioned allegorical condemnation of fascism and war. Long held by the Museum of Modern Art in New York City, the work was transferred to Spain's Prado in 1981, and was moved to the Queen Sofia Center of Art, Madrid, in 1992. The profits Picasso earned from a series of etchings and prints on the Guernica theme made in the 1930s went to help the Republican cause. Later Life and Work In his later years Picasso turned to creations of fantasy and comic invention. He worked consistently in sculpture, ceramics, and in the graphic arts, producing thousands of superb drawings, illustrations, and stage designs. With unabated vigor he painted brilliant variations on the works of other masters, including Delacroix and Velazquez , and continued to explore new aspects of his personal vision until his death.

His notable later works include Rape of the Sabines (1963; Picasso Mus., Paris) and Young Bather with Sand Shovel (1971; private collection, France). By virtue of his vast energies and overwhelming power of invention Picasso remains outstanding among the masters of the ages. Bibliography See biography by J. Richardson (Vol. I, 1991); catalog of his retrospective at the Museum of Modern Art, New York City (1980); biographical studies by G. Stein (1938), R. Penrose (1981), A. S. Huffington (1988), P. Daix (1993), and N. Mailer (1995); personal reminiscences by J. Sabertés (tr. 1948) and F. Oliver (1965, 1988); R. Penrose, The Sculpture of Picasso (1967); P. Daix and G. Boudaille, Picasso: The Blue and Rose Period (tr. 1967); D. Cooper, Picasso Theatre (1968); C.

Czwiklitzer, Picasso's Posters (tr. 1971); J. E. Cirlot, Picasso: Birth of a Genius (1972); R. Penrose and J. Golding, ed., Picasso in Retrospect (1973); P. Leighton, Re-ordering the Universe: Picasso and Anarchism, 1897-1914 (1989); W. Rubin, H. Seckel, and J. Cousins, Les Demoiselles d'Avignon (1995); Mallen, Enrique, ed. Online Picasso Project. Sam Houston State University. Accessed 2014. 49 Stouts Lane Pablo Picasso Biography - life, family, children, name, history, school, mother, son, old, information, born Pablo Picasso Biography Mougins, France Spanish painter, sculptor, and graphic artist The Spanish painter, sculptor, and graphic artist Pablo Picasso was one of the most productive and revolutionary artists in the history of Western painting.

As the central figure in developing cubism (an artistic style where recognizable objects are fragmented to show all sides of an object at the same time), he established the basis for abstract art (art having little or no pictorial representation). Early years Pablo Ruiz Picasso was born on October 25, 1881, in Malaga, Spain. He was the eldest and only son with two younger sisters, Lola and Concepción. His father, José Ruiz Blasco, was a professor in the School of Arts and Crafts. Pablo's mother was Maria Ruiz Picasso (the artist used her surname from about 1901 on). It is rumored that Picasso learned to draw before he could speak. As a child, his father frequently took him to bullfights, and one of his earlier paintings was a scene from a bullfight. In 1891 the family moved to La Coruña, where, at the age of fourteen, Picasso began studying at the School of Fine Art. Under the academic instruction of his father, he developed his artistic talent at an extraordinary rate. When the family moved to Barcelona, Spain, in 1896, Picasso easily gained entrance to the School of Fine Arts.

A year later he was admitted as an advanced student at the Royal Academy of San Fernando in Madrid, Spain. He demonstrated his remarkable ability by completing in one day an entrance examination for which an entire month was permitted. Picasso soon found the atmosphere at the academy stifling, and he returned to Barcelona, where he began to study historical and contemporary art on his own. At that time Barcelona was the most vital cultural center in Spain, and Picasso quickly joined the group of poets, painters, and writers who gathered at the famous café Els Quatre Gats (The Four Cats). Between 1900 and 1903 Picasso stayed alternately in Paris, France, and Barcelona. He had his first one-man exhibition in Paris in 1901. Paris at the turn of the twentieth century At the turn of the twentieth century Paris was the center of the international art world. In painting it was the birthplace of the impressionists—painters who depicted the appearance of objects by means of dabs or strokes of unmixed colors in order to create the look of actual reflected light. While their works retained certain links with the visible world, they exhibited a decided tendency toward flatness and abstraction.

Picasso set up a permanent studio in Paris in 1904. His studio soon became a gathering place for the city's most modern artists, writers, and patrons. Picasso's early work reveals a creative pattern which continued throughout his long career. Between 1900 and 1906 he worked through nearly every major style of contemporary (modern) painting. In doing so, his own work changed with extraordinary quickness. Blue and pink periods The years between 1901 and 1904 were known as Picasso's Blue Period. Nearly all of his works were executed in somber shades of blue and contained lean, melancholy, and introspective (concentrating on their own thoughts) figures. Two outstanding examples of this period are the Old Guitarist (1903) and Life (1903). In the second half of 1904 Picasso's style took a new direction. In these paintings the color became more natural, delicate, and tender in its range, with reddish and pink tones dominating the works. Thus this period was called his Pink Period. The most celebrated example of this phase is the Family of Saltimbanques (1905).

Picasso's work between 1900 and 1905 was generally flat, emphasizing the two-dimensional character of the painting surface. Late in 1905, however, he became increasingly interested in pictorial volume. This interest seems to have been influenced by the late paintings of Paul Cézanne (1839–1906). The face in Portrait of Gertrude Stein (1906) reveals still another new interest: its mask-like abstraction was inspired by Iberian sculpture, an exhibition of which Picasso had seen at the Louvre, in Paris, in the spring of 1906. This influence reached its fullest expression a year later in one of the most revolutionary pictures of Picasso's entire career, Les Demoiselles d'Avignon (1907). Picasso and cubism Les Demoiselles d'Avignon is generally regarded as the first cubist painting. The faces of the figures are seen from both front and profile positions at the same time. Between 1907 and 1911 Picasso continued to break apart the visible world into increasingly small facets of monochromatic (using one color) planes of space.

In doing so, his works became more and more abstract. Representation gradually vanished from his painting, until it became an end in itself—for the first time in the history of Western art. Pablo Picasso. Pipes, Art and Portrait on Pinterest Picasso in 1899-1900. "Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman we don't start measuring her limbs." More Pablo Picasso - Painter - Biography.com Pablo Picasso April 8 , 1973 Education Pablo Picasso Full Name Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso Spanish expatriate Pablo Picasso was one of the greatest and most influential artists of the 20th century, as well as the co-creator of Cubism. IN THESE GROUPS » quotes “Whenever I wanted to say something, I said it the way I believed I should. Different themes inevitably require different methods of expression.

This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it.” “If only we could pull out our brain and use only our eyes.” “When I was as old as these children, I could draw like Raphael, but it took me a lifetime to learn to draw like them.” “Everything you can imagine is real.” “Art is a lie that makes us realize truth.” “For being a bad student, I was banished to the 'calaboose,' a bare cell with whitewashed walls and a bench to sit on. I liked it there, because I took along a sketch pad and drew incessantly ... I could have stayed there forever, drawing without stopping.” “When I was a child, my mother said to me, 'If you become a soldier, you'll be a general.

If you become a monk, you'll end up as the pope.' Instead, I became a painter and wound up as Picasso.” “Is this frighteningly precocious child not fated to bestow the consecration of a masterpiece on the negative sense of living, the illness from which he more than anyone else seems to be suffering?” “If you don't know what color to take, take black.” “Accidents, try to change them - it's impossible. The accidental reveals man.” “God is really only another artist. He invented the giraffe, the elephant and the cat. He has no real style. He just keeps on trying other things.” “It's not what the artist does that counts. But what he is.” “Everyone wants to understand art. Why not try to understand the songs of a bird?” “Of course, you can paint pictures by matching up different parts of them so that they go nicely together, but they'll lack any kind of drama.” “It has often been said that an artist should work for himself, for the love of art, and scorn success. It's a false idea. An artist needs success.

Not only in order to live, but primarily so that he can realize his work.” “Nothing can be done without solitude.” “In my case a picture is a sum of destructions. I do a picture, then I destroy it. But in the long run nothing is lost; the red that I took away from one place turns up somewhere else.” “I want to get to the stage where nobody can tell how a picture of mine is done. What's the point of that? Simply that I want nothing but emotion given off by it.” “People who try to explain pictures are usually barking up the wrong tree.” Pablo Picasso Pablo Picasso - Mini Biography (TV-14; 4:41) A short biography of Pablo Picasso who developed cubism and flourished as an artist. His painting "Guernica," which depicts the bombing of a Basque village during the Spanish Civil War, is considered his masterpiece. Synopsis Born in Málaga, Spain, in 1881, Pablo Picasso, became one of the greatest and most influential artists of the 20th century and the creator (with Georges Braque) of Cubism.

A Spanish expatriate painter, sculptor, printmaker, ceramicist and stage designer, Picasso was considered radical in his work. After a long prolific career, he died on April 8, 1973, in Mougins, France. The enormous body of Picasso's work remains, however, and the legend lives on—a tribute to the vitality of the "disquieting" Spaniard with the "sombrepiercing" eyes who superstitiously believed that work would keep him alive. For nearly 80 of his 91 years, Picasso devoted himself to an artistic production that contributed significantly to—and paralleled the entire development of—modern art in the 20th century. Early Life and Education Born on October 25, 1881, in Málaga, Spain, Pablo Picasso's gargantuan full name, which honors a variety of relatives and saints, is Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso. Picasso's mother was Doña Maria Picasso y Lopez. His father was Don José Ruiz Blasco, a painter and art teacher.

A serious and prematurely world-weary child, the young Picasso possessed a pair of piercing, watchful black eyes that seemed to mark him destined for greatness. "When I was a child, my mother said to me, 'If you become a soldier, you'll be a general. If you become a monk you'll end up as the pope,'" he later recalled. "Instead, I became a painter and wound up as Picasso." Though he was a relatively poor student, Picasso displayed a prodigious talent for drawing at a very young age. According to legend, his first words were "piz, piz," his childish attempt at saying "lápiz," the Spanish word for pencil. Picasso's father began teaching him to draw and paint when he was a child, and by the time he was 13 years old, his skill level had surpassed his father's. Soon, Picasso lost all desire to do any schoolwork, choosing to spend the school days doodling in his notebook instead. "For being a bad student, I was banished to the 'calaboose,' a bare cell with whitewashed walls and a bench to sit on," he later remembered. "I liked it there, because I took along a sketch pad and drew incessantly ...

I could have stayed there forever, drawing without stopping." In 1895, when Picasso was 14 years old, he moved with his family to Barcelona, Spain. where he quickly applied to the city's prestigious School of Fine Arts. Although the school typically only accepted students several years his senior, Picasso's entrance exam was so extraordinary that he was granted an exception and admitted. Nevertheless, Picasso chafed at the School of Fine Arts' strict rules and formalities, and began skipping class so that he could roam the streets of Barcelona, sketching the city scenes he observed. In 1897, a 16-year-old Picasso moved to Madrid to attend the Royal Academy of San Fernando. However, he again became frustrated with his school's singular focus on classical subjects and techniques. During this time, he wrote to a friend: "They just go on and on about the same old stuff: Velázquez for painting, Michelangelo for sculpture." Once again, Picasso began skipping class to wander the city and paint what he observed: gypsies, beggars and prostitutes, among other things.

In 1899, Picasso moved back to Barcelona and fell in with a crowd of artists and intellectuals who made their headquarters at a café called El Quatre Gats ("The Four Cats"). Inspired by the anarchists and radicals he met there, Picasso made his decisive break from the classical methods in which he had been trained, and began what would become a lifelong process of experimentation and innovation. Blue Period: 'Blue Nude,' 'La Vie' and Other Works At the turn of the 20th century, Pablo Picasso moved to Paris, France—the cultural center of European art—to open his own studio. Art critics and historians typically break Picasso's adult career into distinct periods, the first of which lasted from 1901 to 1904 and is called his "Blue Period," after the color that dominated nearly all of Picasso's paintings over these years. Lonely and deeply depressed over the death of his close friend, Carlos Casagemas, he painted scenes of poverty, isolation and anguish, almost exclusively in shades of blue and green. Picasso's most famous paintings from the Blue Period include "Blue Nude," "La Vie" and "The Old Guitarist," all three of which were completed in 1903.

In contemplation of Picasso and his Blue Period, Symbolist writer and critic Charles Morice once asked, "Is this frighteningly precocious child not fated to bestow the consecration of a masterpiece on the negative sense of living, the illness from which he more than anyone else seems to be suffering?" Rose Period: 'Gertrude Stein,' 'Two Nudes' and More By 1905, Picasso had largely overcome the depression that had previously debilitated him. Not only was he madly in love with a beautiful model, Fernande Olivier, he was newly prosperous thanks to the generous patronage of art dealer Ambroise Vollard. The artistic manifestation of Picasso's improved spirits was the introduction of warmer colors—including beiges, pinks and reds—in what is known as his "Rose Period" (1904-06). His most famous paintings from these years include "Family at Saltimbanques" (1905), "Gertrude Stein" (1905-06) and "Two Nudes" (1906).

Break into Cubism In 1907, Pablo Picasso produced a painting unlike anything he or anyone else had ever painted before, a work that would profoundly influence the direction of art in the 20th century: "Les Demoiselles d'Avignon," a chilling depiction of five nude prostitutes, abstracted and distorted with sharp geometric features and stark blotches of blues, greens and grays. Today, "Les Demoiselles d'Avignon" is considered the precursor and inspiration of Cubism, an artistic style pioneered by Picasso and his friend and fellow painter, Georges Braque. In Cubist paintings, objects are broken apart and reassembled in an abstracted form, highlighting their composite geometric shapes and depicting them from multiple, simultaneous viewpoints in order to create physics-defying, collage-like effects. At once destructive and creative, Cubism shocked, appalled and fascinated the art world. "It made me feel as if someone was drinking gasoline and spitting fire," Braque said, explaining that he was shocked when he first viewed Picasso's "Les Demoiselles," but quickly became intrigued with Cubism, seeing the new style as a revolutionary movement.

French writer and critic Max Jacob, a good friend of both Picasso and painter Juan Gris, called Cubism "the 'Harbinger Comet' of the new century," stating, "Cubism is ... a picture for its own sake. Literary Cubism does the same thing in literature, using reality merely as a means and not as an end." Picasso's early Cubist paintings, known as his "Analytic Cubist" works, include "Three Women" (1907), "Bread and Fruit Dish on a Table" (1909) and "Girl with Mandolin" (1910). His later Cubist works are distinguished as "Synthetic Cubism" for moving even further away from artistic typicalities of the time, creating vast collages out of a great number of tiny, individual fragments. These paintings include "Still Life with Chair Caning" (1912), "Card Player" (1913-14) and "Three Musicians" (1921). Classical Period The outbreak of World War I ushered in the next great change in Picasso's art. He grew more somber and, once again, became preoccupied with the depiction of reality.

His works between 1918 and 1927 are categorized as part of his "Classical Period," a brief return to Realism in a career otherwise dominated by experimentation. His most interesting and important works from this period include "Three Women at the Spring" (1921), "Two Women Running on the Beach/The Race" (1922) and "The Pipes of Pan" (1923). Surrealism From 1927 onward, Picasso became caught up in a new philosophical and cultural movement known as Surrealism, the artistic manifestation of which was a product of his own Cubism. Picasso's most well-known Surrealist painting, deemed one of the greatest paintings of all time, was completed in 1937, during the Spanish Civil War.

After German bombers supporting Francisco Franco's Nationalist forces carried out a devastating aerial attack on the Basque town of Guernica on April 26, 1937, Picasso, outraged by the bombing and the inhumanity of war, painted "Guernica." Painted in black, white and grays, the work is a Surrealist testament to the horrors of war, and features a minotaur and several human-like figures in various states of anguish and terror. "Guernica" remains one of the most moving and powerful anti-war paintings in history. 'Self Portrait Facing Death' and Other Later Works In the aftermath of World War II, Picasso became more overtly political. He joined the Communist Party and was twice honored with the International Lenin Peace Prize, first in 1950 and again in 1961. By this point in his life, he was also an international celebrity, the world's most famous living artist. While paparazzi chronicled his every move, however, few paid attention to his art during this time. In contrast to the dazzling complexity of Synthetic Cubism, Picasso's later paintings display simple, childlike imagery and crude technique.

Touching on the artistic validity of these later works, Picasso once remarked upon passing a group of school kids in his old age, "When I was as old as these children, I could draw like Raphael , but it took me a lifetime to learn to draw like them." Picasso created the epitome of his later work, "Self Portrait Facing Death," using pencil and crayon, a year before his death. The autobiographical subject, drawn with crude technique, appears as something between a human and an ape, with a green face and pink hair. Yet the expression in his eyes, capturing a lifetime of wisdom, fear and uncertainty, is the unmistakable work of a master at the height of his powers. Death and Legacy Pablo Picasso continued to create art and maintain an ambitious schedule in his later years, superstitiously believing that work would keep him alive. He died on April 8, 1973, at the age of 91, in Mougins, France. His legacy, however, has long endured.

Inarguably one of the most celebrated and influential painters of the 20th century, Picasso continues to garner reverence for his technical mastery, visionary creativity and profound empathy, and, together, these qualities have distinguished him as a revolutionary artist. Picasso also remains renowned for endlessly reinventing himself, switching between styles so radically different that his life's work seems to be the product of five or six great artists rather than just one. Of his penchant for style diversity, Picasso insisted that his varied work was not indicative of radical shifts throughout his career, but, rather, of his dedication to objectively evaluating for each piece the form and technique best suited to achieve his desired effect. "Whenever I wanted to say something, I said it the way I believed I should," he explained. "Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it." Personal Life An incorrigible womanizer, Picasso had countless relationships with girlfriends, mistresses, muses and prostitutes during his lifetime, marrying only twice.

He wed a ballerina named Olga Khokhlova in 1918, and they remained together for nine years, parting ways in 1927. They had a son together, Paulo. In 1961, at the age of 79, he married his second wife, Jacqueline Roque. Roque committed suicide in 1986. While married to Khokhlova, he began a long-term relationship with Marie-Thérèse Walter. They had a daughter, Maya, together. Walter committed suicide after Picasso died. Between marriages, in 1935, Picasso met Dora Maar, a fellow artist, on the set of Jean Renoir's film Le Crime de Monsieur Lange (released in 1936). The two soon embarked upon a partnership that was both romantic and professional. Their relationship lasted more than a decade, during and after which time Maar struggled with depression; they parted ways in 1946, three years after Picasso began having an affair with a woman named Françoise Gilot, with whom he had two children, son Claude and daughter Paloma. They parted ways in 1953.

Gilot would go on to marry scientist Jonas Salk, the inventor of the polio vaccine. Picasso fathered four children: Paulo (Paul), Maya, Claude and Paloma. Videos What Kind of Art Is Picasso Known For? | eHow What Kind of Art Is Picasso Known For? Thierry Chesnot/Getty Images News/Getty Images Pablo Picasso was a prolific artist, producing both classical and innovative works, including painting, prints, ceramics, sculpture and experimental forms. Born in Spain in 1881, Picasso had a career that spanned 70 years, a long career that allowed him the opportunity to develop and experiment with his art. He helped developed Cubism, an abstract painting technique. Picasso used color and emotional expression in his work. Angles and Squares Along with Georges Braque, Picasso created a form of abstract art known as cubism. Rather than painting a realistic image, Picasso created multiple viewing angles in one image with the intent to show more than first meets the eye, inviting the viewer to move around and look the image from different angles. The cubes and squares throughout cubism imitate the forms that the images would have in different dimensions.

While Picasso’s cubist work was first criticized by the critics, the style influenced modern and abstract artists. Color and Emotion Use of color is another well-known aspect of Picasso’s art, which he used to convey his feelings and emotions as well as to form images. For example, he used dark tones and shades of grey to convey the trials of war, blues to depict the plight of social outcasts, and reds to convey the delight and joy of circus performers. Picasso’s portrayal of personal feeling was unusual and groundbreaking, as artists had traditionally focused on portrayal of images rather than a depiction of their emotions. While Picasso’s color choice and how he used color changed throughout his career, it remained a key part of his art. Drawing on Mythology Although Picasso was an innovator of abstract art, he also created traditional paintings. After World War I, Picasso moved more toward classical painting techniques, spending less time creating cubist and abstract paintings. He drew on classical fantasy and mythological characters and themes such as nymphs, minotaurs and centaurs. Inspired by the birth of his son, he also created works depicting the calming influence of motherhood.

Experiments and Explorations While Picasso saw himself as painter first, he also worked with other media, including creating sculptures such as "Woman's Head." He designed ceramics such as the Madoura collection. Picasso explored printmaking techniques, producing over 134,00 prints, engravings and illustrations. Working with Georges Braque again, Picasso collaborated in inventing collage by pasting paper on canvas as a way to create an arrangement of symbols to refer to objects, rather than an image as a window to the world. He used this technique to create works like "Playing Card and Glass." In addition, Picasso produced thousands of stage designs. His long life and career allowed him to explore and experiment in his art, redefining himself as well as inspiring other artists. Pablo Picasso (1881–1973) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Works of Art (19) Essay The artistic genius of Pablo Picasso (1881–1973) has impacted the development of modern and contemporary art with unparalleled magnitude.

His prolific output includes over 20,000 paintings, prints, drawings, sculptures, ceramics, theater sets and costumes that convey myriad intellectual, political, social, and amorous messages. His creative styles transcend realism and abstraction, Cubism , Neoclassicism, Surrealism, and Expressionism. Born in Malaga, Spain, in 1881, Picasso studied art briefly in Madrid in 1897, then in Barcelona in 1899, where he became closely associated with a group of modernist poets, writers, and artists who gathered at the café Els Quatre Gats (The Four Cats), including the Catalan Carlos Casagemas (1880–1901). Living intermittently in Paris and Spain until 1904, his work during these years suggests feelings of desolation and darkness inspired in part by the suicide of his friend Casagemas. Picasso’s paintings from late 1901 to about the middle of 1904, referred to as his Blue Period, depict themes of poverty, loneliness, and despair.

In The Blind Man’s Meal ( 50.188 ) from 1903, he uses a dismal range of blues to sensitively render a lonely figure encumbered by his condition as he holds a crust of bread in one hand and awkwardly grasps for a pitcher with the other. The elongated, corkscrew bodies of El Greco (1541–1614) inspire the man’s distorted features. Picasso moved to Paris in 1904 and settled in the artist quarter Bateau-Lavoir, where he lived among bohemian poets and writers such as Guillaume Apollinaire (1880–1918) and Max Jacob (1876–1944). In At the Lapin Agile ( 1992.391 ) from 1905, Picasso directs his attention toward more pleasant themes such as carnival performers, harlequins, and clowns. In this painting, he uses his own image for the harlequin figure and abandons the daunting blues in favor of vivid hues, red for example, to celebrate the lives of circus performers (categorically labeled his Rose Period).

In Paris, he found dedicated patrons in American siblings Gertrude (1874–1946) and Leo (1872–1947) Stein, whose Saturday evening salons in their home at 27, rue des Fleurus was an incubator for modern artistic and intellectual thought. At the Steins he met other artists living and working in the city—generally referred to as the “School of Paris” —such as Henri Matisse (1869–1954). Painted in 1906, Gertrude Stein ( 47.106 ) records Picasso’s early stylistic experiments with primitivism influenced by a new fascination with pre-Roman Iberian sculpture and African and Oceanic art. Concentrating on intuition rather than strict observation, and unsatisfied with the features of Stein’s face, Picasso reworked her image into a masklike manifestation stimulated by primitivism. The influence of African and Oceanic art is explicit in his masterpiece Les Demoiselles d’Avignon (1907; Museum of Modern Art, New York), a painting that signals the nascent stages of Cubism.

Here the figure arrangement recalls Cézanne’s compositions of bathers while stylistically it is influenced by primitivism, evident by the angular planes and well-defined contours that create an overall sculptural solidity in the figures. The basic principles of Analytic Cubism (1910–12), with its fragmentation of three-dimensional forms on a two-dimensional picture plane, are embodied in Still Life with a Bottle of Rum ( 1999.363.63 ), painted in 1911. The techniques of Analytic Cubism were developed by Picasso and the French artist Georges Braque (1882–1963), who met in 1907. Picasso’s Bottle and Wine Glass on a Table ( 49.70.33 ) of 1912 is an early example of Synthetic Cubism (1912–13), a papier collé in which he pasted newsprint and colored paper onto canvas. Picasso and Braque also included tactile components such as cloth in their Synthetic Cubist works, and sometimes used trompe-l’oeil effects to create the illusion of real objects and textures, such as the grain of wood.

After World War I (1914–18), Picasso reverted to traditional styles, experimenting less with Cubism. In the early 1920s, he devised a unique variant of classicism using mythological images such as centaurs, minotaurs, nymphs, and fauns inspired by the classical world of Italy. Within this renewed expression, referred to as his Neoclassical Period, he created pictures dedicated to motherhood inspired by the birth of his son Paulo in 1921 (his first of four children by three women). Woman in White ( 53.140.4 ) of 1923 shows a woman clothed in a classic, toga-like, white dress resting calmly in a contemplative pose with tousled hair, eliciting a tender lyricism and calming spirit of maternity. Toward the end of the 1920s, Picasso drew on Surrealist imagery and techniques to make pictures of morphed and distorted figures.

In Nude Standing by the Sea ( 1996.403.4 ) of 1929, Picasso’s figure recounts the classical pose of a standing nude with her arms upraised, but her body is swollen and monstrously rearranged. By the early 1930s, Picasso had turned to harmonious colors and sinuous contours that evoke an overall biomorphic sensuality. He painted scenes of women with drooping heads and striking voluptuousness with a renewed sense of optimism and liberty, probably inspired by his affair with a young woman (one of Picasso’s numerous mistresses) named Marie-Thérèse Walter (1909–1977). Girl Reading at a Table ( 1996.403.1 ) from 1934 uses these expressive qualities of bold colors and gentle curves to portray Marie-Thérèse seated at an oversized table, emphasizing her youth and innocence. Although still living in France in the 1930s, Picasso was deeply distraught over the outbreak of the Spanish Civil War in 1936.

He reacted with a powerfully emotive series of pictures, such as The Dream and Lie of Franco ( 1986.1224.1[2] ), that culminated in the enormous mural Guernica (1937; Reina Sofía National Museum, Madrid), painted in a grisaille palette of gray tones. This painting, Picasso’s contribution to the Spanish Pavilion in the 1937 Exposition Universelle in Paris, is a complex work of horrifying proportion with layers of antiwar symbolism protesting the fascist coup led by Generalissimo Francisco Franco. From the late 1940s through the ’60s, Picasso’s creative energy never waned. Living in the south of France, he continued to paint, make ceramics, and experiment with printmaking. His international fame increased with large exhibitions in London, Venice, and Paris, as well as retrospectives in Tokyo in 1951, and Lyon, Rome, Milan, and São Paulo in 1953. A retrospective in New York at the Museum of Modern Art in 1957 garnered a massive amount of attention, with over 100,000 visitors during the first month.

This exhibition solidified Picasso’s prominence as museums and private collectors in America, Europe, and Japan vied to acquire his works. In Faun and Starry Night ( 1970.305 ) from 1955, Picasso returned to the mythological themes explored in early pictures. Again, incorporating life experience into his painting, he evokes his infatuation with a new love, a young woman named Jacqueline Roque (1927–1986), who became his second wife in 1961 when the artist was seventy-nine years old. In this painting, Picasso symbolizes himself as a faun, calmly and coolly gazing with mature confidence and wisdom at a nymph who blows her instrument to the stars. The picture embraces his spellbound love for Jacqueline. Even into his eighties and nineties, Picasso produced an enormous number of works and reaped the financial benefits of his success, amassing a personal fortune and a superb collection of his own art, as well as work by other artists. He died in 1973, leaving an artistic legacy that continues to resonate today throughout the world.

James Voorhies Department of European Paintings, The Metropolitan Museum of Art October 2004 Citation Voorhies, James. “Pablo Picasso (1881–1973).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2004) Further Reading Karmel, Pepe. Picasso and the Invention of Cubism. New Haven: Yale University Press, 2003. Léal, Brigitte, Christine Piot, and Marie-Laure Bernadac. The Ultimate Picasso. New York: Abrams, 2003. Olivier, Fernande. Loving Picasso: The Private Journal of Fernande Olivier. Edited by Marilyn McCully. New York: Abrams, 2001. Richardson, John. A Life of Picasso. 2 vols. New York: Random House, 1991–96. Richardson, John, with the collaboration of Marilyn McCully. A Life of Picasso. 2 vols. New York: Random House, 1991. Rose, Bernice B., and Bernard Ruiz Picasso, eds.

Picasso: 200 Masterworks from 1898 to 1972. Exhibition catalogue. Boston: Bullfinch Press, 2002. Rubin, William, ed. Pablo Picasso: A Retrospective. Exhibition catalogue. New York: Museum of Modern Art, 1980. Zervos, Christian. Pablo Picasso. 33 vols. (catalogue raisonné). Paris: Cahiers d'Art, 1932–78. Additional Essays by James Voorhies

Question: Painted in 1905, the painting Garcon a la Pipe was a famous painting by which famous artist who died in 1973?
Answer: Pablo PICASSO