Picasso blue period paintings with titles. All works by years

The blue general reads and writes Leonty Vasilyevich Dubelt was a great hunter before reading. However, the general should not be reproached for illegibility of tastes, he did not deserve such reproaches. Even at a relatively young age, he told the publisher of Otechestvennye Zapiski Kraevsky,

Although he himself came from a bourgeois background, and his habits and way of thinking were bourgeois, his painting was not bourgeois.

In 1896, Picasso's father rented a workshop for his son Pablo Picasso Ruiz on Calle de la Plata, where he could now work without coercion and supervision and do whatever he liked. The following year, his parents sent him to Madrid.

The artist who largely determined the nature of Western European and American art of the twentieth century was Pablo Picasso, a Spaniard who lived most of his life in France.

In 1900, Picasso and his friend Casachemes left for Paris. They settled in a studio recently vacated by another Catalan painter, Isidre Nonell. It was there, in Paris, that Pablo Picasso became acquainted with the work of the Impressionists. His life at this time is fraught with many difficulties, and the suicide of his friend Casajemes had a profound effect on the young Picasso. Under these circumstances, at the beginning of 1902, he began to make works in the style, subsequently called the "blue period". Picasso develops this style upon his return to Barcelona, ​​in 1903-1904. The heroes of his paintings of the “blue” and “pink” periods are ordinary women, acrobats, itinerant circus actors, beggars. Even works devoted to the theme of motherhood are imbued not with happiness and joy, but with the mother's anxiety and concern for the fate of the child.

blue period.

The beginning of the "blue period" is usually associated with the artist's second trip to Paris. Indeed, he returns to Barcelona by Christmas 1901 with completed and begun canvases, painted in a completely different manner than that in which he has worked until now.

In 1900, Picasso met the graphics of Theophile Steinlen. He is interested in the color aggressiveness of northern artists, but it was at this time that he significantly limited his own color material. Everything happened quickly, sometimes even simultaneously. Picturesque works, pastels or drawings were constantly changing in style, in expression. The theme and nature of the works, which are separated by several weeks, and sometimes even days, can be radically different. Picasso had an excellent visual memory and susceptibility. He is more of a master of shade than color. Painting for the artist rests primarily on a graphic basis.

Sadness is what gives birth to art, he now convinces his friends. In his paintings, a blue world of silent loneliness arises, people rejected by society - the sick, the poor, the crippled, the elderly.

Picasso already in these years was prone to paradoxes and surprises. The years 1900-1901 are usually called "Lautren" and "Steilen" in the artist's work, thus indicating a direct connection with the art of his Parisian contemporaries. But after a trip to Paris, he finally breaks with his hobbies. The "Blue Period" in terms of attitude, problems, plasticity is already associated with the Spanish artistic tradition.

2 canvases help to understand the situation - “Absinthe Drinker” and “Date”. They stand on the very threshold of the "blue period", anticipating many of its thematic aspects and at the same time completing a whole strip of Picasso's searches, his movement towards his own truth.

It is safe to say that at the age of 15, Picasso already had an excellent command of artistic skills in the academic sense of the word. And then he is captivated by the spirit of experimentation in search of his own path in the complex intertwining of directions and currents of European art at the turn of the 20th century. In these searches, one of the remarkable features of Picasso's talent was manifested - the ability to assimilate, assimilate various trends and trends in art. In "Date" and "The Absinthe Drinker" the primary sources (the Parisian school of art) still show through. But the young Picasso is already beginning to speak in his own voice. What disturbed and tormented him now required other pictorial solutions. Past attachments have been exhausted.

With the fearlessness of a true great artist, 20-year-old Picasso turns to the "bottom" of life. He visits hospitals, psychiatric hospitals, shelters. Here he finds the heroes of his paintings - beggars, cripples, destitute, abused and thrown out by society people. The artist wanted to express not only sentimental compassion for them with his canvases. The blue world of silence, in which he immerses his characters, is not only a symbol of suffering and pain, it is also a world of proud loneliness, moral purity.

"Two Sisters" was one of the first works of this period. In "Sisters" and in general in the works of the "blue period" the author focuses on certain traditions of medieval art. He was attracted by the style of Gothic, especially Gothic plastic with its spiritualized expressiveness of forms. Picasso in those years discovers El Greco and Moralesi. In their works, he finds psychological expressiveness, the symbolism of color, sharp expression of forms, sublime spirituality of images, consonant with his then moods and searches.

"Two Sisters" is a characteristic work of the "blue period" in all respects. In the multifaceted content of the "Sisters" the theme of communication between people, the friendship of two beings as a guarantee of protection from the hardships of life, the hostility of the world again sounds.

Another typical painting by Picasso of the “blue period” is “Old Jew with a boy”. They adjoin a series of works where the beggars, the blind, the crippled act as heroes. In them, the artist seems to challenge the world of prosperous and indifferent moneybags and philistines. In his heroes, Picasso wanted to see the bearers of certain truths hidden from ordinary people, accessible only to the inner eye, the inner life of a person. No wonder most of the characters in the paintings of the "blue period" seem blind, do not have their own face. They live in their inner world, their thin "Gothic" fingers learn not the external forms of objects, but their inner secret meaning.

In Madrid, from February 1901, Picasso for the first time began to seriously study the new art, which then began its victorious march almost throughout Europe. The few months spent in Madrid turned out to be decisive for the future development of his life. This moment is marked even by a purely outward change: he used to sign his drawings with P. Ruiz Picasso, but now only the name of his mother can be seen on his works.

During this period, Picasso works fruitfully. His exhibitions are organized in Barcelona. June 24, 1901 organized the first exhibition in Paris, where he now lived. A new style is gaining momentum here, breaking the trend of limiting color to cold tones. Paris pushed Picasso to a strong revival of the palette. Increasingly, paintings appeared with bouquets of flowers and nude models. If in Madrid the artist mainly worked in blue, now next to blue and green lay pure, often contrasting colors. A new style was making its way to the surface. The artist sometimes outlined wide color surfaces in blue, purple and green. This manner was called the "period of window panes."

At the beginning of 1903, Picasso returned to Barcelona and took up landscapes, almost all of them in blue. Landscape painting has always been the artist in some neglect. Picasso is not romantic enough to see nature as a source of inexhaustible inspiration. In reality, he is only interested in a person and what directly surrounds or touches a person.

The blue color is now softened by the proximity to ocher and pale lilac colors, united by a common pink tone. The blue period has entered a new, transitional phase, the time of itinerant theater and circus people.

“I plunged into blue when I realized that Casajemas was dead,” Picasso later admitted. “The period from 1901 to 1904 in the work of Picasso is usually called the “blue” period, since most of the paintings of this time are painted in a cold blue-green scale, exacerbating the mood of fatigue and tragic poverty. What was later called the "blue" period was multiplied by images of sad scenes, paintings full of deep melancholy. At first glance, all this is incompatible with the enormous vitality of the artist himself. But remembering the self-portraits of a young man with huge sad eyes, we understand that the paintings of the "blue" period convey the emotions that owned the artist at that time. A personal tragedy sharpened his perception of the life and grief of suffering and disadvantaged people.

It is paradoxical, but true: the injustice of the life order is keenly felt not only by those who have experienced the yoke of life's hardships since childhood, or even worse - the dislike of loved ones, but also by quite prosperous people. Picasso is a prime example of this. His mother adored Pablo, and this love became an impenetrable armor for him until his death. The father, who constantly experienced financial difficulties, knew how to help his son with all his might, although he sometimes moved in a completely different direction than don Jose indicated. The beloved and prosperous young man did not become an egocentric, although the atmosphere of the decadent culture in which he was formed in Barcelona, ​​it would seem, contributed to this. On the contrary, he felt with great force the social disorder, the huge gap between the poor and the rich, the injustice of the structure of society, its inhumanity - in a word, everything that led to the revolutions and wars of the 20th century.

“Let's turn to one of the central works of Picasso of that time - to the painting “The Old Beggar with a Boy”, made in 1903 and now in the State Museum of Fine Arts. A. S. Pushkin. Two sitting figures are depicted on a flat neutral background - a decrepit blind old man and a little boy. The images are given here in their sharply contrasting opposition: the face of an old man, wrinkled, as if sculpted by a powerful play of chiaroscuro, with deep cavities of blind eyes, his bony, unnaturally angular figure, the breaking lines of his legs and arms and, as opposed to him, wide-open eyes on a gentle , the softly modeled face of a boy, the smooth, flowing lines of his clothes. A boy standing on the threshold of life, and a decrepit old man, on whom death has already left its mark - these extremes are united in the picture by some tragic commonality. The boy's eyes are wide open, but they seem as unseeing as the terrible gaps in the old man's eye sockets: he is immersed in the same joyless meditation. The dull blue color further enhances the mood of sorrow and hopelessness, which is expressed in the sadly concentrated faces of people. The color here is not the color of real objects, nor is it the color of real light flooding the space of the picture. With the same dull, deadly cold shades of blue, Picasso conveys the faces of people, their clothes, and the background on which they are depicted.

The image is lifelike, but there are many conventions in it. The proportions of the old man's body are hypertrophied, an uncomfortable posture emphasizes his brokenness. Thinness is unnatural. The boy's facial features are oversimplified. “The artist does not tell us anything about who these people are, what country or era they belong to, and why they are sitting on this blue earth, huddled together like this. Nevertheless, the picture speaks volumes: in the contrasting opposition of the old man and the boy, we see both the sad, bleak past of one, and the hopeless, inevitably gloomy future of the other, and the tragic present of both of them. The very mournful face of poverty and loneliness looks at us with its sad eyes from the picture. In his works created during this period, Picasso avoids fragmentation, detailing and strives in every possible way to emphasize the main idea of ​​the depicted. This idea remains common to the vast majority of his early writings; just like in The Old Beggar Man with the Boy, it consists in revealing the disorder, the mournful loneliness of people in the tragic world of poverty.

In the “blue” period, in addition to the paintings already mentioned (“Old Beggar with a Boy”, “Mug of Beer (Portrait of Sabartes)” and “Life”), “Self-Portrait”, “Date (Two Sisters)”, “Head of a Woman” were also created , Tragedy, etc.

“I plunged into blue when I realized that Casajemas was dead,” Picasso later admitted. “The period from 1901 to 1904 in the work of Picasso is usually called the “blue” period, since most of the paintings of this time are painted in a cold blue-green scale, exacerbating the mood of fatigue and tragic poverty. What was later called the "blue" period was multiplied by images of sad scenes, paintings full of deep melancholy. At first glance, all this is incompatible with the enormous vitality of the artist himself. But remembering the self-portraits of a young man with huge sad eyes, we understand that the paintings of the "blue" period convey the emotions that owned the artist at that time. A personal tragedy sharpened his perception of the life and grief of suffering and disadvantaged people.

It is paradoxical, but true: the injustice of the life order is keenly felt not only by those who have experienced the yoke of life's hardships since childhood, or even worse - the dislike of loved ones, but also by quite prosperous people. Picasso is a prime example of this. His mother adored Pablo, and this love became an impenetrable armor for him until his death. The father, who constantly experienced financial difficulties, knew how to help his son with all his might, although he sometimes moved in a completely different direction than don Jose indicated. The beloved and prosperous young man did not become an egocentric, although the atmosphere of the decadent culture in which he was formed in Barcelona, ​​it would seem, contributed to this. On the contrary, he felt with great force the social disorder, the huge gulf between the poor and the rich, the injustice of the structure of society, its inhumanity - in a word, everything that led to the revolutions and wars of the 20th century.

“Let's turn to one of the central works of Picasso of that time - to the painting “The Old Beggar with a Boy”, made in 1903 and now in the State Museum of Fine Arts. A.S. Pushkin. Two sitting figures are depicted on a flat neutral background - a decrepit blind old man and a little boy. The images are given here in their sharply contrasting opposition: the face of an old man, wrinkled, as if sculpted by a powerful play of chiaroscuro, with deep cavities of blind eyes, his bony, unnaturally angular figure, the breaking lines of his legs and arms and, as opposed to him, wide-open eyes on a gentle , the softly modeled face of a boy, the smooth, flowing lines of his clothes. A boy standing on the threshold of life, and a decrepit old man, on whom death has already left its mark - these extremes are united in the picture by some tragic commonality. The boy's eyes are wide open, but they seem as unseeing as the terrible gaps in the old man's eye sockets: he is immersed in the same joyless meditation. The dull blue color further enhances the mood of sorrow and hopelessness, which is expressed in the sadly concentrated faces of people. The color here is not the color of real objects, nor is it the color of real light flooding the space of the picture. With the same dull, deadly cold shades of blue, Picasso conveys the faces of people, their clothes, and the background on which they are depicted.

The image is lifelike, but there are many conventions in it. The proportions of the old man's body are hypertrophied, an uncomfortable posture emphasizes his brokenness. Thinness is unnatural. The boy's facial features are oversimplified. “The artist does not tell us anything about who these people are, what country or era they belong to, and why they are sitting on this blue earth, huddled together like this. Nevertheless, the picture speaks volumes: in the contrasting opposition of the old man and the boy, we see both the sad, bleak past of one, and the hopeless, inevitably gloomy future of the other, and the tragic present of both of them. The very mournful face of poverty and loneliness looks at us with its sad eyes from the picture. In his works created during this period, Picasso avoids fragmentation, detailing and strives in every possible way to emphasize the main idea of ​​the depicted. This idea remains common to the vast majority of his early writings; just like in The Old Beggar Man with the Boy, it consists in revealing the disorder, the mournful loneliness of people in the tragic world of poverty.

The unique style and divine talent allowed Picasso to influence the evolution of modern art and the entire artistic world.

Pablo Picasso was born in 1881 in Malaga, Spain. He discovered his talent at an early age and entered the School of Fine Arts when he was 15 years old.

The artist spent most of his life in his beloved France. In 1904 he moved to Paris, and in 1947 he moved to the sunny south of the country.

The work of Picasso is divided into unique and interesting periods.

His early "blue period" began in 1901 and lasted about three years. Much of the artwork created during this time is characterized by human suffering, poverty, and shades of blue.

The "Pink Period" lasted for about a year, beginning in 1905. This phase is characterized by a lighter rose-gold and rose-gray palette, and the characters are mostly itinerant artists.

The picture that Picasso painted in 1907 marked the transition to a new style. The artist single-handedly changed the course of contemporary art. These were the "Avignon Maidens", which caused a lot of upheaval in the then society. The depiction of nude prostitutes in the cubist style became a real scandal, but served as the basis for subsequent conceptual and surrealist art.

On the eve of World War II, during the conflict in Spain, Picasso created another brilliant work - the painting "Guernica". The immediate source of inspiration was the bombing of Guernica, the canvas personifies the protest of the artist who condemned fascism.

In his work, Picasso devoted much time to the study of comedy and fantasy. He also realized himself as a graphic artist, sculptor, decorator and ceramist. The master constantly worked, creating a huge number of illustrations, drawings and designs of bizarre content. In the final phase of his career, he painted variations on famous paintings by Velasquez and Delacroix.

Pablo Picasso died in 1973 in France at the age of 91, having created 22,000 works of art.

Paintings by Pablo Picasso:

Boy with a pipe, 1905

This painting of early Picasso belongs to the "rose period", he painted it shortly after his arrival in Paris. It depicts a boy with a pipe in his hand and a wreath of flowers on his head.

Old guitarist, 1903

The painting belongs to the "blue period" of Picasso's work. It depicts an old, blind and impoverished street musician with a guitar. The work is done in shades of blue and is based on expressionism.

Girls of Avignon, 1907

Perhaps the most revolutionary painting in modern art and the first painting in the style of cubism. The master ignored the generally accepted aesthetic rules, shocked the purists and single-handedly changed the course of art. He depicted in a peculiar way five naked prostitutes from a brothel in Barcelona.

A bottle of rum, 1911

Picasso completed this painting in the French Pyrenees, a favorite haunt of musicians, poets and painters, which the Cubists had chosen before the First World War. The work is done in a complex cubist style.

Head, 1913

This famous work has become one of the most abstract Cubist collages. The profile of the head can be traced in a semicircle outlined by charcoal, but all elements of the face are significantly reduced to geometric figures.

Still life with compote and glass, 1914-15

Forms of pure color and faceted objects juxtapose and overlap each other to create a harmonious composition. Picasso in this picture demonstrates the practice of collage, which he often uses in his work.

Girl in front of a mirror, 1932

This is a portrait of Picasso's young mistress, Marie-Therese Walter. The model and her reflection symbolize the transition from a girl to a seductive woman.

Guernica, 1937

This painting depicts the tragic nature of war and the suffering of innocent victims. The work is monumental in its scope and significance, and is seen throughout the world as an anti-war symbol and poster for peace.

Weeping woman, 1937

Picasso was interested in the theme of suffering. This detailed painting, with a grimace distorted, deformed face, is considered a continuation of Guernica.