Pablo Picasso 毕加索中英文介绍

Pablo Picasso 毕加索

1881—1900年 童年时期 
1881年 10月25日毕加索出生于西班牙南部的马拉加； 
1889年 完成第一件油画作品《斗牛士》； 
1895年 进入巴塞罗那的隆哈美术学校； 
1897年 进入马德里的皇家圣费南多美术学院就读，油画作品《科学与慈善》获马德里全国美展荣誉奖，后来又在马拉加得到金牌奖； 

1900—1903年 蓝色时期 
1902年 完成“蓝色自画像”； 
1903年 完成《人生》，以浓郁的蓝色调表示贫老与孤独的苦难； 

1904—1906年 玫瑰时期 
1904年 开始定居巴黎的“洗衣船”，玫瑰时期开始。邂逅费尔南德·奥利维叶，并同居： 
1905年 创作《拿烟斗的男孩》并被慈善家约翰·海惠特尼女士以3万美元重金购得； 
1906年 结识野兽派大师马蒂斯，为美国作家兼收藏家菖楚·斯坦因画像，《斯坦因画像》是毕加索从“玫瑰时期”跃入“立体主义”的跳板； 

1907—1916年 立体主义时期 
1907年 结识布拉克，开始立体派风格创作，创作《亚威农少女》； 
1909年 解析立体派开始；创作《费尔南德头像》； 

1917—1924年 古典时期 
1917年 在意大利邂逅舞者欧嘉·科克洛娃，创作《欧嘉的肖像》； 
1918年 与欧嘉结婚，与马蒂斯举行联展； 
1920年 手工彩绘珂罗版《三角帽》； 
1922年 创作《海边奔跑的两个女人》； 

1925—1932年 超现实主义时期 
1927年 邂逅年仅17岁的玛丽·德蕾莎·沃尔持，成为毕加索的模特。并生下女儿马姬； 
1929年 与雕塑家贡萨列斯一起创作雕塑和铁线结构成。作系列以女人头像为题的攻击性画作，显现婚姻危机，结识达利； 

1932—1945年 蜕变时期 
1932年 创作《红色扶手椅中的女人》； 
1933年 以雕塑家工作室为题，创作蚀版画 
1934年 创作以斗牛为题的作品； 
1936年 西班牙内战暴发。认识多拉。玛尔，并创作《多拉·玛尔的肖像》； 
1937年 创作完成《格尔尼卡》； 
1942年 创作版画《大自然的故事》 
1943年 邂逅22岁的弗朗索娃·吉洛； 
1944年 加入法国共产党； 
1945年 开始尝试石版画创作； 

1946—1973年 田园时期 
1947年 儿子克洛德降生。在陶艺家哈米耶工作室制陶，至1948年共作了2000件陶艺术品；
1948年 为世界和平会议作“和平之鸽“海报和《贡戈拉的二十首诗》； 
1949年 创作《卡门》系列； 
1950年 获列宁和平奖章； 
1953年 在玛都拉陶艺工作坊邂逅杰奎琳·洛克； 
1954年 开始创作德拉克罗瓦的“阿尔及利亚女人”变奏系列； 
1956年 与克罗鲁佐共同拍摄电影《神秘的毕加索》公映； 
1957年 在纽约现代艺术馆举办“毕加索75岁纪念展”，创作版画《斗牛系列》； 
1958年 毕加索为设在巴黎的联合国教科文总部大厦创作了壁画《伊卡洛斯的坠落》； 
1959年 创作仿马奈《草地上的午餐》变奏系列； 
1961年 与35岁的杰奎琳·洛克结婚，并庆祝毕加索80大寿； 
1963年 绘制《画家与模特儿》； 
1966年 巴黎大皇宫及小皇宫举办大型《毕加索回顾展》。创作《流沙系列》； 
1968年 创作《塞莱斯蒂纳》和《可笑的男人》系列版画； 
1970年 把西班牙家中保存的近2000件早期作品捐赠结巴塞罗纳毕加索美术馆： 
1971年 巴黎国立现代艺术馆举办了《毕加索诞生90同年回顾展》； 
1973年 92岁，4月8日逝世于坎城附近的幕瞻市。4月10日葬于佛文纳菊别墅花园里。 
Introduction 
Picasso, Pablo Ruiz y (1881-1973), Spanish painter, sculptor, printmaker, draughtsman, designer, and ceramicist who spent most of his career in France. He was the most famous and prolific artist of the 20th century and exercised enormous influence on his contemporaries. 

II. Early Life and Work 
Picasso was born in Málaga on October 25, 1881, the first child of a middle-class family. His father José Ruiz Blasco was a mediocre painter who earned his living as a teacher of drawing. Like many Spaniards, Picasso took his mother's family name as his surname. 

Picasso showed artistic talent at an early age. His first surviving drawings were done when he was nine. By his early teens, it was clear that he was exceptionally gifted. In 1895 his family had moved to Barcelona, and from 1896 to 1897 he studied at the School of Fine Arts there. His large academic canvas Science and Charity (1897, Museo Picasso, Barcelona), depicting a doctor, a nun, and a child at a sick woman's bedside, won a gold medal when it was exhibited in Málaga. He then spent a few months at the Academy of Fine Arts in Madrid, but by this time—aged only 16—he already had his own studio in Barcelona and was eagerly experimenting with a variety of styles. 

III. The Blue Period 
In 1900 Picasso made his first visit to Paris, the goal of every ambitious artist, and for the next four years he divided his time between there and Barcelona. He found the bohemian street-life of Paris fascinating, and his pictures of people in dance halls and cafés show how he assimilated the Post-Impressionism of Paul Gauguin and of the Symbolist painters called the Nabis. The themes he found in the work of Edgar Degas and Henri de Toulouse-Lautrec, as well as the style of the latter, exerted the strongest influence. Picasso's Blue Room (1901, Phillips Collection, Washington, D.C.) reflects the work of both these painters and, at the same time, shows his evolution towards the Blue Period, so called because various shades of blue, well suited to the melancholic subjects that he favoured at that time, dominated his work for the next few years (1901-1904). Expressing human misery, the paintings portray blind people, beggars, alcoholics, and prostitutes, their somewhat elongated bodies reminiscent of the style of El Greco. 

IV. The Rose Period 
In 1904 Picasso settled in Paris, living in a shabby building known as the Bateau-Lavoir (“laundry barge”, which it resembled). He met Fernande Olivier, the first of many companions to influence the theme, style, and mood of his work. The next year or so of his life is known as his Rose Period, when blue was replaced by pink as the predominant colour in his work. His subjects became more cheerful and included many scenes of the circus, which he frequently visited, and circus performers—bohemians outside respectable society—with whom he identified. One such painting of this period is Family of Saltimbanques (1905, National Gallery, Washington, D.C.); in the figure of the harlequin, Picasso represented his alter ego, a practice that he repeated in later works. 

In 1909 Picasso moved out of the Bateau-Lavoir into an apartment with a maid. By this time he had attracted influential patrons, such as the American writer Gertrude Stein, whose portrait he painted (1906, Metropolitan Museum of Art, New York), and had gained the support of the art dealer Daniel-Henri Kahnweiler, whom he met in 1907. Kahnweiler introduced Picasso to Georges Braque, another young artist whose work he handled. 

V. Cubist Painting 
In the summer of 1906, during a stay in Gosol, a remote Catalan village in the Pyrenees, Picasso's work entered a new phase, marked by the influence of Greek, Iberian, and African art. The key work of this early period is Les Demoiselles d'Avignon (1907, Museum of Modern Art, New York); the title comes from the name of a street in the red-light district of Barcelona and the painting depicts five prostitutes, their figures aggressively distorted and the faces of two of them recalling the African masks that Picasso admired and collected at this time. So radical in style was this picture—its surface resembling fractured glass—that it was not understood even by contemporary avant-garde painters and critics. Spatial depth is absent and the ideal form of the female nude is restructured into facets—the essential features that distinguish Cubism. 

From the time of their first meeting in 1906 until the outbreak of World War I, Picasso and Braque worked closely together. Inspired by the volumetric treatment of form seen in the late work of Paul Cézanne, they began to paint landscapes in a style later described by a critic as being made of “little cubes”, thus leading to the term “Cubism”. They were concerned with breaking down and analysing form, and together they developed the first phase of Cubism, known as Analytical Cubism. Monochromatic colour schemes were favoured in their depictions of radically fragmented motifs, whose several sides were shown simultaneously. Picasso's favourite subjects were musical instruments, still-life objects, and his friends; one famous portrait is Daniel Henry Kahnweiler (1910, Art Institute of Chicago). In 1912, pasting paper and a piece of oilcloth to the canvas and combining these with painted areas, Picasso created his first collage, Still Life with Chair Caning (Musée Picasso, Paris). 

The technique marked the transition to Synthetic Cubism. This second phase of Cubism is more decorative, with colour playing a major role. Picasso used Synthetic Cubism throughout his career, but by no means exclusively. Two works of 1915 demonstrate his simultaneous work in completely different styles: Harlequin (Museum of Modern Art, New York) is a Synthetic Cubist painting, whereas a fine pencil drawing of his dealer, Vollard (Metropolitan Museum of Art, New York), is executed in his Ingresque style, so called because the draughtsmanship emulates that of the 19th-century French Neo-Classical artist Jean Auguste Dominique Ingres. 

VI. Cubist Sculpture 
While he was creating this revolution in painting, Picasso was doing almost equally innovative work in sculpture. Traditionally there had been two approaches to sculpture—modelling (in which the form is built up from a substance such as clay) and carving (in which the form is created by removing material from a block of stone or other suitable material). Picasso changed this by putting together sculpture from pieces of commonplace material (a development of the collage elements that he sometimes included in his Cubist paintings). An example is Guitar (1912, Musée Picasso, Paris), made of cardboard, paper, and string. 

Picasso's sculptures in this vein were generally small and almost in the nature of jokes, but the idea was soon taken up by other sculptors in much more ambitious form. Among them was the Russian painter and sculptor Vladimir Tatlin, who visited Picasso in 1914. Tatlin's variations on Picasso's method became the foundation of Constructivism, a major movement in abstract art. 

VII. Realism and Surrealism 
After the outbreak of war in 1914, Picasso continued to work in Paris. In 1917 he visited Rome with the writer Jean Cocteau to meet the Russian ballet impresario Sergei Diaghilev, whose company was preparing for a production of Parade (the storyline of which was by Cocteau and the music by Erik Satie). Picasso designed the costumes and drop curtain. One of Diaghilev's dancers, Olga Koklova, became Picasso's first wife. In a realist style, Picasso painted several portraits of her around 1917, of their son (for example, Paulo as Harlequin; 1924, Musée Picasso, Paris), and of numerous friends. The couple moved into a grand apartment in Paris and Picasso became part of the fashionable world, losing touch with his bohemian youth. 

In the immediate post-war period Picasso painted for a time in a style that has been called “classical” and that marked a reaction against the experimental fervour of the pre-war years. Several of Picasso's most imposing works of this time feature monumentally powerful figures that have something of the solidity and grandeur of ancient sculptures, for example Three Women at the Spring (1921, Museum of Modern Art, New York). Others, such as The Pipes of Pan (1923, Musée Picasso, Paris), were inspired by mythology. 

This serenity was short-lived, however, for in the mid-1920s Picasso became interested in Surrealism and then started painting violently expressive pictures that reflected his despair at his increasingly unhappy marriage. The Three Dancers (1925, Tate Gallery, London) is a key work in this phase of his career. 

Several Cubist paintings of the early 1930s, stressing harmonious, curvilinear lines and expressing an underlying eroticism, reflect Picasso's pleasure with his newest love, Marie Thérèse Walter, who gave birth to their daughter Maïa in 1935. Marie Thérèse, frequently portrayed sleeping, was also the model for the famous Girl Before a Mirror (1932, Museum of Modern Art). In 1935 Picasso made the etching Minotauromachy, a major work combining his minotaur and bullfight themes; in it the disembowelled horse, as well as the bull, prefigure the imagery of Guernica, a painting often called the most important single work of the 20th century. 

VIII. Guernica 
Picasso was moved to paint Guernica shortly after German planes, acting in support of General Franco, bombarded the Basque town of Guernica on April 26, 1937, during the Spanish Civil War. Completed in less than two months, Guernica was hung in the Spanish Pavilion of the Paris International Exposition of 1937. The painting does not portray the event; rather, Picasso expressed his outrage by employing such imagery as a bull, a dying horse, a fallen warrior, a mother and dead child, a woman trapped in a burning building, another rushing into the scene, and a figure leaning from a window and holding out a lamp. Despite the complexity of its symbolism, and the impossibility of definitive interpretation, Guernica makes an overwhelming impact in its portrayal of the horrors of war. It now hangs in Madrid's museum of 20th-century art, the Reina Sofía Art Centre. Dora Maar, Picasso's companion at the time, took photographs of Guernica while the work was in progress. 

IX. Later Works 
Picasso remained defiantly in Paris during the German occupation of the city in World War II, but after the war he lived mainly in the South of France, in Vallauris from 1948 and at Notre-Dame-de-Vie, a villa in Mougins, from 1961 until his death. He continued to be extremely productive to the end of his long life (not least in ceramics, which he took up in 1946), but it is generally agreed that his post-war output is of lesser importance and interest than his earlier work. He died on April 8, 1973, aged 91