Picasso Portraits - (Hardcover)
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<p/><br></br><p><b> Book Synopsis </b></p></br></br><p><strong>Picasso's portraits are matched to his fluctuating social circles in this look at the maestro's evolution</strong></p><p>From the beginning of his career until its end, Pablo Picasso's prime subject was the human figure, and portraiture remained a favorite genre for the artist. Picasso's portraiture reflected the full range of his innovative styles--Symbolist, Cubist, Neoclassical, Surrealist, Expressionist. Depicting people in his intimate circle rather than working to commission enabled Picasso to take an expressive, radically experimental approach to making portraits. <p/>However extreme his departure from representational conventions, Picasso never wholly abandoned drawing from the sitter or ceased producing portraits of classic beauty and naturalism. He remained in constant dialogue with the art of the past, and his portraits often alluded to canonical masterpieces. Treating favorite Old Masters as indecorously as his intimate friends, he created suites of free "variations" after Velázquez's "Las Meninas" and Rembrandt's "The Prodigal Son."</p><p>These dizzying stylistic shifts of Picasso's long career can be traced through their manifestations in his portraits. <em>Picasso Portraits</em> tells this story thematically, with a focus on Picasso's creative process rather than his biography. Issues addressed in depth in this volume include Picasso's exploitation of familiar poses and formats, his sources of inspiration among the Old Masters and the relationship between observation, memory and fantasy.</p><p>The legendary life and career of <strong>Pablo Picasso</strong> (1881-1973) spanned nearly the entire 20th century and ushered in some of its most significant artistic revolutions. Hard to overestimate in importance or originality, Picasso's style is perhaps best captured in the words of his friend Paul Éluard: "Picasso paints like God or the devil."</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br>how Picasso as a god of forms vitalised portraiture after photography, unpacking the expressive potential of cubist fragmentation through miracles of deformation to proclaim that painterly distortion is truth--Jackie Wullschlager "Financial Times"<br><br>in showing Picasso's works of other people, we actually get one of the clearest images of Picasso himself through his choices of subjects, artistic obsessions, and some of his best-ever works.--Samuel Spencer "Blouin Art Info"<br><br>Picasso's many portraits of friends, lovers and family are among the most vivid pieces of his fantastically prolific and experimental career.--Rachel Campbell-Johnston "The Times"<br><br>Whatever the claims of Johnny Come Latelys such as Damien Hirst and Jeff Koons, Pablo Picasso remains the most controversial artist of all time, a man seen for much of his long career as intent on destroying the established categories of art. Yet it's become apparent over recent decades how much of Picasso's phenomenal energies were devoted not only to reinventing, but also paying homage to traditional genres - most notably the portrait.--Mark Hudson "The Telegraph"<br><p/><br></br><p><b> About the Author </b></p></br></br><p><strong>Elizabeth Cowling</strong> is Emeritus Professor of the History of Art at the University of Edinburgh. Her publications include <em>Picasso: Style and Meaning</em> (2002) and Visiting Picasso: The Notebooks and Letters of Roland Penrose (2006). She has co-curated several exhibitions, including <em>Picasso Sculptor/Painter</em> (1994), <em>Matisse Picasso</em> (2002), and <em>Picasso Looks at Degas</em> (2010).</p>
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