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Introduction
The twentieth century brought not only unprecedented opportunities for artists (especially technical), but forced to abandon his habitual vision of the world. In the early century, science has reviewed much of the «hard» truths. Humanist values of the Renaissance and Enlightenment no longer serve as the support person. Now he had to protect them in the nightmare world wars, totalitarian regimes. The achievements of the past seemed irrelevant, and humanity left alone with a formidable and mysterious world, like in primitive times.
A Woman with a Fan (After Carnival)
Depicting his model Picasso simplifies and makes geometric every shape and size, seeing them as a geometric, enclosed in a body. A familiar perspective in the painting is missing and every detail of her shows as if there are multiple points of view.
The colored variant of the picture entirely is appropriate to the goal. Color stresses characteristic structure of each form, it becomes conditional, like «wooden». Obviously, this has affected the influence of African sculpture exhibition in Paris, which has played a major role in the emergence of Cubism (Kelley, 2002).
Picture in picture is pointedly accentuated because its mission is to provide every closed volume and the overall silhouette. Chiaroscuro clearly underlines the heavy tilt of the head of woman with force based on the knee hand, mechanically raised the second hand with the fan. So a combination of geometric forms and movements arise woman, tired and sad, in an armchair. Cubistic works by Picasso are is always emotional, that their allocated among the works of other artists of this area.
The theme of woman was always popular among the people who deal with art, among the poets and among the artists. The soul of woman is considered to be the most interesting and unknown area of artistic research.
Absinthe-lover
The theme of a single woman at a cafe table appeared in art in Barcelona. In this picture, created in Paris, are rejected all the elements of Impressionism. The painting is like a stained-glass window is a lot of dark flexible circuit, covering large color plans. Cafe at the Picasso is homeless shelter. For Yvette Gilber, the singer, perpetuated by Toulouse-Lautrec, there is a description of such cafe: «Here they are – these funny Comedy, eccentric dancers, singers that evening will amuse the crowd song, severity and apery and cause, maybe the envy of his carelessly and merry life; they are, pale, gaunt, with eyes tired, hungry, cold and sick, with the print of suffering and misery on his face. Every day they come to «Cafe De La Chartreuse» in the hope of obtaining engagement, run by impresario… There are many women. Pale in bright daylight, with tight and frozen smile on the lips, made up and powdered with the cheap powder, containing an eye, they too are waiting for any entrepreneur, the services they offer to the remnants of his lost voice and the outgoing youth (Kelley, 2002).
The boy with a dog
In winter of 1904-1905 Picasso worked on a huge canvas, depicting circus performers. The painting has repeatedly been rewritten. Now it is known as the major work of «pink» period (National Gallery, Washington). The figure of a boy is the sketch of the work.
It is very close to gouaches «Two acrobats with a dog» (Museum of Modern Art, New York), which is regarded as a direct response to the Baudelaire poem «Good Dogs»: «I praised dirty dog, poor dog, homeless dog, dog vagrant, comic dog, dog, whose instinct, like instinct poor, gypsies and street acrobat is surprising, this good mother, the patroness of the true reason».
If pre-cubic surface imitates the style of Picasso, rehearse some trivial ideas and aims to achieve a certain emotional effect, the new approach is keen analysis, identifying plastic properties of nature. The high level of conditionality in the works by Picasso is the result of all a greater understanding of the nature and plastic reflection. Whatever the intentions of the author, the result of the plastic analysis and subsequent fusion, concise design, in which he implements those figures and their models – specifically, an appropriate so that it is transforming the way the artist showed us is in the early 20 century in the center of art, literature, philosophy, ideology (Kelley, 2002).
In the early 20th century people and the world are subject to rethinking. In painting this is happening a little earlier than in life, which visibly and invisibly covered preparations for the total reorganization. Construction of a new human preceded the destruction of old: what it is – a set of basic parts, a universal repository.
In art, the final classical tradition, the most remarkable phenomenon, of course, is Picasso’s art. Unmistakable sense of boundaries, sharp as the feeling the gap, allows the incredible things, supposedly to demonstrate the absolute freedom and in doing so remain beyond the verge of separating art in its classic sense of its decay products – various kinds and forms, with the different properties and functions.
References
Kelley True, Pablo Picasso: Breaking All the Rules: Breaking All the Rules (Smart About Art), Grosset & Dunlap, 2002.
Lowery Linda , Porter Janice Lee , Pablo Picasso, Carolrhoda Books, 1999.
Salvador Ana , Draw with Pablo Picasso,r Frances Lincoln Children’s Books, 2008.
Ullmann HF,Pablo Picasso: Life and Work (Art in Focus (Konemann)), h.f. ullmann; 1 edition, 2008.
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