Influence of Pablo Picasso on Art

Influence of Pablo Picasso on subterfugePablo Picasso His Influence on Art.The influence of Pablo Picasso on art can be measured via the abiding fame of the man he dust, arguably, the most famous artist since Michelangelo, more celebrated than Duschamp, Monet or Cezanne. He was a legend during his own life succession, the celebrated Salvador Dal citing Picasso as, his hero, and to be taken seriously by him Picasso, a sort of right of passage.His posthumous reputation is built upon the solid foundation of innovative art coupled with rotatory expressionism that many commentators lay down seen as constituting the very genesis of modern art. For many, Picasso is none other than the artist who carried headstoneing into the twentieth century, the personification of the advent of a in the buff age in art felt in the same way as it was in industry, economy and ideology.His private life and professional life merged more than most famous artists. Bar for a small period towards the end of his life, Picasso was free from the scandal that accompanied the legends of Matisse, Van Gogh or Manet, for instance. Art was always his first mistress, although more than most other artists, Picasso drew from the experiences which touched him in his personal life to inspire his creative output.Born in Spain Picasso was, from the outset, detect as a child prodigy by his art teacher father. Indeed, the Museo de Picasso in Barcelona is dedicated almost exclusively to his very early paintings and sculptures. By the time he was a teenager Picasso began to frequent the more Bohemian outlets of Barcelona, where his inquisition acted like a sponge for the diversity of influences all around him. Inevitably, Picasso go in short to the capital of art, Paris, where he was further exposed to the rich variety of expressions prevalent at the findesiecle. One can see these formative years as essential in the development of the discernibly different styles that Picasso adopted in his adult life .First he experimented with realism and exaggeration, heavily influenced by his time in Paris. Commentators have since labelled his next two phases as the Blue Period and the go up Period respectively. During the Blue Period (19011904), Picasso relied heavily on a blue pallette for his paintings, where he focused excessively on the traditional outsiders of society to tell his story beggars, prostitutes and vagrants make up the bulk of the actors in this phase of his life. In contrast, the Rose Period (19041905) used as its focal point less wretched members of society, though he still accented the ridiculous clowns, trapeze artists and other circus military force tended to constitute the majority of his performance during this epoch. Apart from bequeathing such classics as the Blue Periods La Vie (1903) and the Rose Periods Family of Saltimbanques (1905), the work of Picasso during the very early years of the twentieth century also highlights the tendencies of an artist who is u nwilling to be pigeonholed as an exponent of only one type of art. His importance came from his ability to transcend certain artistic genres without ever losing any credibility or acumen.Next Picasso travelled to Holland where he was greatly influenced by the classical paintings of Greek mythology. He returned to Paris where he was intrigued and challenged by the groundbreaking Fauvist work of Matisse, which used familiarly grotesque themes to Picassos Blue Period. The caricaturelike nature of Matisses work inspired Picasso to experiment with ancient, primitive art, especially that which so influenced the Iberian culture from where he hailed. With Spain being positioned so virtually to Africa, Picasso naturally, appropriated African art in the development of modern styles, and his primitive experimentation ought to be seen as the key development in his embracement of Cubism, the style for which he remains most noted internationally today. Picassos incorporation of African influen ces into his own sculptures constituted the first time when he consciously used his art as a vehicle to voice his concerns over the state of the modern world in which he lived. It allowed him to confront his audience with their own assumptions about Africa and the relation of Picassos work to that highly publicised discourse.Yet, as detailed, Cubism remains the artistic style most closely associated with Pablo Picasso. Essentially, Cubism played with the concept of the three dimensional human figure, distorting the shapes, lines and contours of the paint so that both the front and back of the body was visible at the same time. Together with Georges Braque, Picasso drove forward the movement of Cubism so that, by 1913, it was the captain progressive tense artistic ideology in both Europe and North America. The Guitar (1913) is often cited as Picassos own personal best with regards to Cubist expressionism, a noticeably Synthetic Cubist creation, although he was soon, unsurprisingly, moving away from Cubism to embrace yet another facet of modern art. Towards the latter part of his creative life, Picasso moved into the realms of Surrealism, influenced again by classical art. By that time, however, the Spanish Civil War (19361939) had broken out, igniting, once more, a politicisation of Picassos work. Picasso was deeply moved by the cultured war raging in his native Spain, and applied himself to creating a monumental record of its barbarity. Guernica (1937) is his most celebrated painting of the time the carnage inflicted upon the Basque city designated in spite of appearance the title constituting his inspiration for painting, which, for the first time in history, documented the horrors of modern warfare, in particular the devastation of air raids. Thus, as Picasso was present to carry progressive art through to the twentieth century, so he was likewise the catalyst for the artistic expression of horror that postindustrial man could inflict upon refining tha t the Second World War would starkly reveal. Moreover, his breathtaking skill, throughout his career, at depicting all forms of artistic endeavour have led present-day(a) commentators such as, Susan Sternau, to conclude that, more than any other individual artist, Picasso shaped the course of twentieth century art.BIBLIOGRAPHYM. Antliff P. Leighten, Cubism and Culture (Thames Hudson London, 2001)R. Brandon, Surreal Lives the Surrealists, 19171945 (Macmillan London, 1999)E. Doss, Twentieth Century American Art (Oxford University Press Oxford, 2002)B. Leal et al, The Ultimate Picasso (Harry N. Abrams Inc New York, 2003)S. Lemoine (Edtd.), Towards Modern Art from Puvis De Chavannes to Matisse to Picasso (Thames Hudson London, 2002)T. Martin, Essential Surrealists (Dempsey Parr London, 1999)S.A. Sternau, Art Nouveau Spirit of the Belle Epoque (Tiger Books International London, 1996)