Academic literature on the topic 'Picasso, Pablo, 1881-1973 – Exhibitions'

Nossa ideia é refletir sobre a utilização da chamada arte primitiva por artistas plásticos considerados clássicos da modernidade. Enfocaremos Pablo Picasso (1881-1973), em particular sua fase cubista, e o modo como tratou a arte primitiva na sua tela Les Demoiselles d'Avignon.

En 1917, Italia le presenta a Pablo Picasso (1881-1973) la oportunidad de inaugurar una nueva etapa artística en la que pervivirá y se modificará el cubismo y, al mismo tiempo, van tomando lugar los elementos del clasicismo de carácter ingresco. Al trabajar durante esta estancia italiana para los Ballets Russesen el telón y vestuario de la obra Parade, pudo perfeccionar su conocimiento de la tradición de la Commedia dell'Artey retomar la iconografía de Arlequín. En Roma, visita y aprecia los tesoros de la ciudad, como el Coliseo iluminado o la Capilla Sixtina y, en sus paseos por Campania, quedó prendado por los frescos y las ruinas de Pompeya y Herculano que le inspiraron toda una serie de dibujos. Además de monumentos clásicos y obras maestras del Renacimiento, encontró en unas postales de una vendedora de flores con el traje tradicional el punto de partida para elaborar la imagen de la mujer italiana como muestra del aprendizaje adquirido en este país. Será en la Città Eternadonde conocerá a su futura mujer, la bailarina Olga Khokhlova, con la que comenzará una nueva etapa personal.

Abstract A self-portrait is a common representation of an artist with different techniques by that artist and emerged since the 15th century. Albrecht Dürer was one of the first artists who performed various self-portraits during his life. The fascinating aspect from a gerontological point of view is that artists show themselves throughout the aging process as well as sometimes with manifest signs of diseases. The poster show self-portraits over the life course from Rembrandt van Rijn (1606-69), Vincent van Gogh (1853-90), Ferdinand Hodler (1853-1918), Lovis Corinth (1858-1925), Helene Schjerfbeck (1862-1946), Edvard Munch (1863-1944), Käthe Kollwitz (1867-1945), Pablo Picasso (1881-1973), and Max Beckmann (1884-1950).

Período importante e decisivo da história da arte na Europa, principalmente na França. Paris, capital do luxo e do entretenimento – A Belle époque – surge o estilo denominado por Guillaume Apollinaire, em 1911, de Cubismo, trazendo à tona uma nova forma de representação. Esse artigo tem como objetivo analisar a carreira do artista catalão Pablo Picasso (1881-1973) e o francês Georges Braque (1882-1963). Suas trajetórias, o conceito de suas obras e os aspectos particulares com relação ao contato com o marchand e responsável pelo “Mecenato moderno” – Daniel-Henry Kanhweiler (1884-1979). Portanto, para esse fim, analisaremos o conceito do cubismo, com base a estabelecer um paralelo com a filosofia, e com os textos de Henri Bergson (1859-1941). Bem como, sua corrente filosófica, e o conceito de duração.Â

Only put off until tomorrow what you are willing to die having left undone. - Pablo Picasso, Spanish painter/sculptor, 1881-1973 It’s Time To Look at the Horizon “Opening our sails” is a metaphor that the worst of the storm has passed or is passing, and it is time to get our-selves shipshape, making necessary repairs and preparations, and get back on course. As individuals, and certainly as SPE, we must be ready to cautiously open our sails. The pandemic may be at or near its peak, and despite relatively strong economic performance in most sec-tors, we know that the global economy remains fragile. As an industry, we don’t have the luxury of waiting. We must provide energy and feedstock in advance of global needs, so it is time to get busy and plan not for what was but for what will be. The energy map, meaning the needs, resources, economies, and priorities of the world, is changing. The oil and gas industry will continue to adapt, but as I have mentioned many times, the need for the service we provide is greater now than ever before. We need to be prepared for both increasing demand and public apathy for what we do. This is nothing new, and capital investments in oil and gas should begin to increase as we enter the new year. Perhaps not at the rates we saw during the “shale revolution,” but investors know how essential we are to a strong global economy and will act accordingly. I believe Picasso was right. We must develop the discipline to sacrifice for our passions completely, for what we are doing is too important to wait and too important to sleep. Person-ally, I have a compulsive need to serve and to create. The service part probably came from having older parents who came from, let’s say, very modest circumstances, and the creative part perhaps from the desire to take things apart and put them back together with the fewest possible parts left over. I mention this because each of us has an artist, a writer, an engineer, a doctor, and maybe even a mad scientist inside them. And each of us has our own compulsions. In the post-pandemic, we need to channel that same discipline that Picasso implies. Our passions are our compass, and our energy derives from our compulsion to fulfill those passions. My challenge to you, as an industry, is to align your passions. Someone recently told me that the pandemic had provided us the opportunity of a generation to realign our priorities. I believe it is the opportunity of a lifetime. We can choose to fear the future, or we can create it. It is that simple.

La exposición es un manifiesto de la continuidad del legado de Pablo Picasso y su capacidad para perdurar en el mundo artístico contemporáneo. La muestra ofrece un recorrido por algunas de las influencias de la obra del creador del Guernica a través de 54 obras de diversos artistas mexicanos. El proyecto tomó como punto de partida el cincuenta aniversario luctuoso del pintor español Pablo Picasso (1881-1973).

Drawings created by ink, have a long history of constant developing and evolving, in the result establishing itself as a self-contained drawing technique. Many giants of art, such as Leonardo da Vinci (1452 – 1519), Titian (~1488 – 1576), Albrecht Dürer (1471 – 1528), Marc Chagall (1887 - 1985), Pablo Picasso (1881- 1973) and Salvador Dalí (1904-1989) are well known for theirs artworks made with ink. The aim of the research: Trace and analyze evolution of ink drawing technique, through in ink created artworks of some well-known painters of 15-20 centuries.

E se Pablo Picasso (1881-1973) não tivesse viajado a Paris? O artigo inicia com esta pergunta com a intenção de descrever a experiência de conhecer outros lugares (culturas, países, realidades) e verificar como isso influenciou alguns artistas e suas criações, falando exclusivamente da pintura e usando como referente o artista plástico peruano Sérvulo Gutierrez (1914-61). Com uma narrativa em primeira pessoa desenvolve um tema que está presente no mundo da arte: a migração por motivos além dos econômicos ou políticos. Contando as experiências próprias do autor como estrangeiro na Academia curitibana, são apresentados argumentos para descrever esta experiência frequente no mundo da pintura tanto Moderna como Contemporânea.

Une étude statistique portant sur 29 tableaux de Picasso démontre la permanence d'un certain nombre de caractères : équilibre de la composition par la distribution des aires colorées : le barycentre des aires pondérées se situe au centre géométrique du cadre. (Les coefficients de pondération employés sont le coefficient de luminance, les coordonnées chromatiques c. I. E. De la couleur). Les "apports" r. V. B. Sont de même ordre avec une tendance décroissante du "vert", au profit du "bleu", en fonction du temps. Les formes sont géométriques simples, sans préférence réelle, sinon pour le quadrangle. Les frontières sont souvent rectilignes. Les arcs courbes, volontiers situes dans la moitie supérieure du tableau, sont centrés à l'intérieur du cadre. Avec les années, le format augmente, le choix des formes et des couleurs se simplifie
Statistical analysis of 29 Picasso's painting leads to some genaral conclusions : balance is based uppon colored shapes distribution ; barycenter of weighted shapes is at the center of the frame (weights are luminance and c. I. E. Coordinates). R. G. B. Componants have the same importance. All shapes are simple geometrical ones. Most of the lines are rectilinear ; curved lines have their curvature center located inside the frame, most of the time on the upper half part years going on, Picasso's choices lead to larger side of frame and simplest colors and shapes

L’expression du mouvement dans l’art est un problème ancien. Les discutions ne cessent de s’alimenter sur cette question. Depuis un demi-siècle, les artistes ont eu le mérite d’avoir compris qu’à la conception d’un monde statique se substitue peu à peu celle d’un monde dynamique. Mais si leur mérite est de l’avoir compris, leur gloire vient de ce qu’ils mettent tout en œuvre pour accorder notre conscience à la réalité. La peinture et la sculpture sont une invitation à découvrir les incroyables richesses du monde visible en faisant appel à notre participation active. Car dans les formes immobiles, c’est notre regard qui découvre les mouvements grâce aux significations que nous révèlent l’artiste certes, mais l’attitude du spectateur reste fondamentale dans la perception de la réalité visible d’une œuvre. Par sa longévité et sa richesse, le parcours de Pablo Picasso fait corps avec le XXème siècle. La présente thèse est centrée sur l’expression du mouvement dans ses peintures, ses sculptures et ses céramiques, cherchant à en souligner les spécificités et les facteurs de continuité à travers le temps. Comment un artiste peut-il rendre par une peinture ou une sculpture, œuvres statiques par excellence, une impression de mouvement ? Des œuvres de Picasso, il se dégage une énergie artistique, un puits de créativité et la recherche permanente et inconditionnelle d’une autonomie artistique. Et toutes ces qualités sont profondément imprégnées de sa personnalité. Les analyses plastiques ainsi que les données historiques et bibliographiques nous permettront de mettre en lumière les moyens utilisés par le maître pour exprimer visuellement le dynamisme, nourrissant ainsi sa pratique de l’art. Pratique qui nous amène à nous interroger sur l’apport particulier du mouvement en art et sur la perception qu’en a le spectateur
The expression of the movement in art is an old problem. Discussed do not cease feeding on this question. For one half-century, the artists have had the merit to have understood that the design of a static world little by little that of a dynamic world replaces. But if their merit is to have included/understood it, their glory comes from what they put all works about it to grant our conscience to reality. Painting and the sculpture are an invitation to discover the incredible richnesses of the visible world by calling upon our active participation. Because in the motionless forms, it is our glance which discovers the movements thanks to the significances that reveal certainly us the artist, but the attitude of the spectator remains fundamental in the perception of the visible reality of a work. By its longevity and its richness, the course of Pablo Picasso forms a unit with the XXème century. The present thesis is centered on the expression of the movement in its paintings, its sculptures and its ceramics, seeking to underline of them specificities and the factors of continuity through time. How an artist can return by a static painting or sculpture, works par excellence, an impression of movement? Works of Picasso, it releases an artistic energy, a well of creativity and the permanent and unconditional search for an artistic autonomy. And all these qualities are deeply impregnated of its personality. The plastic analyses as well as the historical and bibliographical data will enable us to clarify the means used by the Master to express the dynamism visually, thus nourishing its practice of art. Practical which leads us to question us on the particular contribution of the movement in art and on perception that the spectator has some

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Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra.
Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.

This thesis investigates, analyzes, and discusses Picasso's imagery in the cultural context of the nineteenth-century Spanish tradition of flamenco. Two published photographs featuring the elderly artist with the gypsy guitarist Manitas de Plata initiated the study, and led me to the conclusion that selected works by Picasso were influenced psychologically, thematically, and formally by his youth which was spent in the Andalusian province of Malaga and later in Barcelona. Picasso's early artistic education occurred at precisely the same time and place as The Golden Age of Flamenco in Spain, a cultural phenomenon that profoundly affected both his life and art.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2006.
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A dissertação aborda a questão do olhar a partir do entrecruzamento do conto "O Búfalo", de Clarice Lispector, e algumas obras de Pablo Picasso e de Man Ray. O conto - defrontado às obras e analisado a luz de conceitos psicanalíticos de pulsão escópica (Freud e Lacan) e da teoria e crítica da arte - guia o trabalho, que é elaborado à maneira de uma rede de comentários. Neste texto, Lispector traça uma parábola da desmontagem do olhar estruturado perspectivamente e da ultrapassagem da questão da forma em oposição seja ao conteúdo, seja à matéria - que é paralela à desestruturação promovida pela arte moderna, aqui representada por Picasso e Man Ray. As obras destes se relacionam ao texto de duas maneiras: por analogia entre algumas de suas representações de touros e minotauros e o búfalo que dá nome ao conto; e por sua pertinência à discussão sobre o informe. Resulta desta amarração uma apreensão o olhar clivado pelo desejo e não mais unilateral: um olhar que, ao destacar-se daquele que vê, olha-o. A arte, tanto imagética, quanto textual, aparece como estratégia sobretudo de cegamento, que esconde ao invés de mostrar, revelando o que constitui o visível.

In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.

Orientador : Nelson Alfredo Aguilar
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O trabalho propõe um estudo dos anos formativos do artista Pablo Picasso, presentes nas três obras pré-cubistas pertencentes ao MASP: Retrato de Suzanne Bloch, Toalete e O Atleta. O estudo da obra Retrato de Suzanne Bloch, de 1904, volta-se para os interesses de Picasso após o abandono do aprendizado acadêmico, sua convivência com o meio artístico de Barcelona e a crítica desse meio e do próprio Picasso à arte acadêmica e à sociedade industrial. O estudo dos anos de 1905 e 1906 e da obra Toalete centra-se na transformação pela qual passa a obra de Picasso com o contato com as obras fauvistas e com meios artísticos que reclamam o retorno, da arte e da cultura, à herança mediterrânea da França e da Catalunha. A análise da obra de Picasso a partir do outono de 1906 leva aos interesses do artista presentes na obra O Atleta, do verão de 1909, um outro momento de trabalho na Espanha, em Horta de San Juan. Verifica-se a transformação do estilo no contato com a arte ibérica primitiva e com a arte tribal, e o novo impulso da crítica de Picasso à arte tradicional e à sociedade burguesa. Enfoca-se ainda o interesse de Picasso pela arte de Cézanne no contato com a obra de Georges Braque, observando as particularidades das obras dos dois artistas no período anterior ao Cubismo
Abstract: A study about Pablo Picasso' s formative years in the three pre-cubists works belonged to the Museu de Arte de São Paulo Assis Chateaubriand (MASP): Retrato de Suzanne Bloch (portraite of Suzanne Bloch), Toalete (Toilette) and O Atleta (The Athlete). The study of the painting Retrato de Suzanne Bloch, 1904, turns to Picasso's interests after leaving the academic training, his familiarity with Barcelona' s artistic circle and their critic to the academic art and industrial society. The study ofthe years 1905 and 1906 and ofthe Toalete is centered on the transformation which Picasso' s works goes through, after his contact with thefauves' work and with artistic circles that claims the french and catalan mediterranean heritages in art and culture. The study of Picasso's work from the auturnn of 1906 until the moment that O Atleta was painted, in the summer of 1909, observes the changes of the style after the artist' s contact with iberian primitive art and tribal art, and Picasso' s critic to the traditional art and to the bourgeois society. Focus is given to Picasso's contact with Georges Braque and after that a new interest for Cezanne's art
Mestrado
Mestre em História

Tese (doutorado)—Universidade de Brasília, Instituto de Psicologia, Departamento de Psicologia Clínica, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2017.
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De todas as construções humanas, a arte, talvez seja a que mais contribuiu para nos tornar humanos. No centro de toda cultura encontramos o impulso para criar objetos, interpretar cenas, produzir imagens, sons e movimentos, sendo os artistas, vistos como seres especiais, quase míticos. Um exemplo desse sentimento é o que encontramos em relação ao pintor espanhol Pablo Picasso (1881-1973), considerado como um dos principais artistas do período moderno e influenciador da estética contemporânea. Suas pinturas causaram um grande impacto na Europa e muita repercussão no resto do mundo, porém, a razão pela qual tantas pessoas ficaram fascinadas com as imagens por ele produzidas ainda é uma incógnita. Buscando compreender essa questão a partir de uma perspectiva psicanalítica, levanta-se a hipótese de que isso ocorreu devido a intensa manifestação de Eros sobre o artista, que produziu obras com fortes marcas dessa manifestação facilitando assim o processo de sublimação do público identificado com suas obras. Baseado nisso, o presente trabalho constitui-se em uma narrativa sobre a estética do desejo em Pablo Picasso, tendo por objetivo investigar a dinâmica inconsciente do artista por meio de sua produção, bem como, identificar de que modo sua obra se caracterizou também como um sintoma da cultura. Para tanto, foram realizadas observações de pinturas gravuras e desenhos do pintor que se encontram no acervo de museus da Espanha e do Brasil, bem como de obras que se encontram publicadas em literaturas específicas sobre a arte de Pablo Picasso. A partir disso, foram selecionadas algumas obras que, devido suas características, permitiam uma melhor observação da manifestação de Eros sobre o artista e, em seguida, foi realizada uma análise relacionando-se os elementos existentes nestas obras, a biografia do artista e conceitos da teoria psicanalítica. Posteriormente, visando uma melhor contextualização do fenômeno estudado, foram identificadas as principais características psicológicas da sociedade da época em que Picasso viveu, de modo a compreender em que medida ocorreram identificações entre a cultura e as produções do artista. Ao discutir os dados produzidos nesse processo constatou-se que a obra de Picasso apresentou uma grande mutabilidade ao longo do tempo devido as diversas formas de manifestação das pulsões do artista visando garantir a realização de desejos como: o desejo de liberdade, de querer mudar a realidade, de ser um objeto de amor e de querer controlar o outro. Tais manifestações, aliado ao alto grau de narcisismo encontrado na obra de Picasso, vão de encontro as principais características identificadas na sociedade em que que Picasso viveu, o que, dentro da narrativa produzida, confirma a ideia de que arte produzida por ele se configura em um sintoma da cultura. Por fim, concluiu-se o presente trabalho constatando que Picasso deu livre vazão as manifestações de Eros que sentia em si e, desse modo, construiu uma estética que reflete a realização de seus desejos narcisistas. Tal estética serviu como meio ideal para que indivíduos da sociedade moderna e contemporânea, identificados com sua obra, pudessem sublimar seus desejos com características semelhantes, razão pela qual entendemos, que tantas pessoas se fascinaram e ainda se fascinam pela obra de Pablo Picasso.
Of all human constructions, art may be the one that most contributed to make us human. At the center of every culture is the impulse to create objects, to interpret scenes, to produce images, sounds and movements, and the artists are seen as special beings, almost mythical. An example of this feeling is what we find in relation to the Spanish painter Pablo Picasso (1881-1973), considered as one of the main artists of the modern period and influential of contemporary aesthetics. His paintings have had a great impact on Europe and much repercussion in the rest of the world. However, the reason why so many people were fascinated with the images produced by him is still unknown. Seeking to understand this question from a psychoanalytical perspective, the hypothesis arises that this happened due to the intense manifestation of Eros on the artist, who produced works with strong marks of this manifestation facilitating the process of sublimation of the public identified with his works. Based on this, the present research constitutes a narrative about the aesthetics of the desire in Pablo Picasso, aiming to investigate the artist's unconscious dynamics through his production, as well as to identify in what way his work was also characterized as a symptom of the culture. To that end, observations were made of paintings of the painter's drawings and drawings found in the collection of museums in Spain and Brazil, as well as works that are published in specific literatures on the art of Pablo Picasso. From this, some works were selected which, due to their characteristics, allowed a better observation of the manifestation of Eros on the artist, and then an analysis was made relating the elements existing in these works, the artist's biography and psychoanalytic theory. Later, in order to better contextualize the studied phenomenon, the main psychological characteristics of the society of the time in which Picasso lived were identified, in order to understand to what extent identifications occurred between the culture and the artist 's productions. In discussing the data produced in this process it was found that the work of Picasso showed a great mutability over time due to the various forms of manifestation of the artist's drives in order to guarantee the fulfillment of desires such as: the desire for freedom, reality, of being an object of love and of wanting to control the other. These manifestations, together with the high degree of narcissism found in Picasso's work, go against the main characteristics identified in the society in which Picasso lived, which, within the narrative produced, confirms the idea that art produced by him is shaped by A symptom of culture. Finally, the present work was concluded, stating that Picasso gave free flow to the manifestations of Eros that he felt in himself and, in this way, constructed an aesthetic that reflects the fulfillment of his narcissistic desires. Such aesthetics served as an ideal means for individuals of modern and contemporary society, identified with their work, to sublimate their desires with similar characteristics, which is why we understand that so many people were fascinated and still fascinated by the work of Pablo Picasso.

Mise en relation d'oeuvres picturales entre elles, entre un tableau donné et un tableau fait d'après lui, l'analyse picturale est l'analyse d'une peinture par un peintre, avec des moyens picturaux. L'étude des caractéristiques de cette relation porte sur les Ménines de Picasso : celui-ci les peint d'après les Ménines de Vélasquez, et analyse "ses" Ménines en cinquante-sept tableaux consécutifs. A partir de cet ensemble unifié par l'activité du peintre se dégagent les rapports des tableaux entre eux et se dessine une loi interne de production, que Picasso modifie dans le temps. L'examen des thèmes morphologiques et iconiques met à jour la méthode de travail de Picasso, les principes mis en oeuvre et les conséquences de cette pratique; l'analyse oscille entre deux pôles: un pôle professionnel, qui privilégie les rapports entre tableaux au détriment des rapports du peintre avec ses tableaux: un pôle personnel qui insiste sur les rapports du peintre avec ses tableaux. Pour rendre l'analyse plus objective et privilégier les rapports entre tableaux, Picasso met en oeuvre une stratégie multiforme: il forge les allusions et des références à d'autres oeuvres, les siennes ou celles de grands peintres (Courbet, Goya, Rembrandt. . . ); il multiplie les dédicataires (Jacqueline, Pignon, Sabartes. . . ) Et organise l'histoire de "ses" Ménines selon des étapes d'exposition, de collection et de legs un musée. L'analyse picturale lui permet, par et au-delà d'une pratique, de prendre rang parmi ses pairs, du passé ou présent, dans une mutualité de peintres. La présente étude s'établit par et sur un va-et-vient entre textes et images des tableaux (photographie et croquis). Une lecture progressive mène à une explication de leurs rapports. On prend en compte les tableaux, leurs données premières, le moment de leur fabrication, de leur exposition, et, en complément, des tableaux et d'autres oeuvres de Picasso ou d'autres artistes, des textes qui éclairent sa pratique, et plus spécifiquement celle qu'il adopte pour "ses" Ménines
Pictorial analysis connects relations between one picture and another made according to it: it is an analysis of a painting made by a painter with pictorial means. This study of these relations concerns Picasso’s Meninas: he painted las Meninas according to Velasquez' ones and made an analysis of his own picture through fifteen-seven successive pictures. From this series, unified by his activity, relations give out and a law of production emerges. Picasso's working method is being discovered, so are the principles he put in play and the consequences of this practice; the analysis halts between two poles: a professional one which points at relations between paintings, indifferent to relations between the painter and his painting, - a person alone which insists on relations between them. As to make his analysis more objective, Picasso planed a multiform strategy: he fabricates allusions and references to other paintings and works, his proper ones or great painters’ ones. He produced large numbers of dedications, organized the story of his Meninas through exhibition, collection and legacy to a museum. This pictorial analysis warrants him by a practice and, beyond a practice, to get a good standing among his past or present peers in a mutual society of painters. This study, by a progressive reading of the pictures, conducts to an explanation of the relations the weave and call. So to do, we paintings, their basis, the moment of their elaboration and further, out of a serie, Picasso’s paintings and works; we examine too others artists' works and writings in order to explain Picasso’s general practice and more precisely the typical one he planed for his Meninas

Abstract Time is the greatest innovator. —Francis Bacon (1561-1626) (1868, Essays, in Works Volume 12, p. 160) Paul Cezanne was one of the most important painters of the 19th century. Born in 1838, Cezanne had a long and productive career. Cezanne’s paintings became more and more valuable throughout his life; his most valuable works were painted just before his death in 1906. The later paintings sell for more, and art professionals judge them to be more important (Galenson, 2001). This makes sense; after all, painters should become increasingly skilled with age, and their works should become increasingly more influential in the art world, and more valuable on the art market. However, Cezanne’s career pattern is not universal among artists. Pablo Picasso, born in Spain in 1881, also worked primarily in Paris. Picasso also had a long productive career, working right up to his death in 1973. However, while Cezanne painted his most important works late in life, Picasso painted his most valuable and most important works early in his career—while he was still in his twenties—and his output became increasingly less important over the rest of his life (see figure 9.1).