Article by Philippe Daverio Avvenire
In 1928, René Magritte paints a funny and bizarre that depicts a pipe under which is written "ceci n'est pas une pipe" (this is not a pipe ): in fact the case because the picture you can not smoke so it is not a pipe, but only its representation. The title of the painting is The betrayal of images. In 1912, Pablo Picasso had taken the opposite path: he had built with pieces of cardboard that an object called "guitar" but that does not look anything like the guitar, the evoked mentally, was obviously not playable, but was the glorification of the image. This first guitar derived an infinite series of sketches and small works that were looking ephemeral largely destroyed by neglect of the moment. The survivors are in these days to be a curious exhibition of 70 works that opens at the MoMA in New York on February 13 and will remain open until June 6. Very interesting. Picasso was a very special character. He used to tell his colleagues "do not take me in your office, if by chance you come up with a good idea, I will steal ..." which was just another version of his saying 'I seek, I find. "
And in those years the artist that most had had close Georges Braque, with whom he shared studio from 1911 to 1914 in such a blend of style and inspiration when they parted, according to many, were not always able to distinguish the paintings of one than the other. Braque perfectly represent the line of French art that glorified the 'art pour l'art', art as an end in itself, and then separated from any social issue, any policy that was not purely aesthetic. The ethics of the art "without ethics." It was emblematic of his painting of 1910 Violin, glass and knife, as was the "breach" of 1911, all broken, and how it will be many others depicting scores, tables, musical instruments. It was pure pleasure of painting where the allusion to music was not random because the painting asemantic aspired to become like music.
And Picasso seized of the issue, but it takes the warmth of his character, and with the heat, the irony. He also attended the music, the evaporation of his friend Erik Satie, who was not devoid of semantic dimension, indeed it was the constant quest for questioning, even the funny and irreverent, self-righteous values. And they were both in line with the culture of iconoclasm in Paris that he had found compact provocations of Ubu Roi, the play superprovocatoria Alfred Jarry and anarchic, and that would lead from there to very little, to the provocations of Marcel Duchamp.
Picasso then steals the violin to Braque. Do not forget his own Hispanic origin, much more to guitar to violin, which he still speaks a heavily accented French. Invent the guitar as a totem and gives a sense of the instrument played in the evenings among students and artists in Montmartre, makes it a sinuous body of the female within the Cubist grammar. And then he begins to play with the theme applied that generous and inexhaustible creativity. Why Picasso throughout his career will be formally only in appearance. For him, the bike is a fun way existential ride for life and his relentless surprises.
This leads him constantly to give up style just conquered and dominated for a new deal. And the friendships are just an additional tool for meetings, incentives and ideas. Through Satie meets the young Cocteau, who, in that same 1912 where they happen all colors and all sounds, it does show the way by his contemporaries, in his early twenties but already at the height of his fame, the dancer Nijinsky. The Russian reveals the key to success and modernity, saying "Monsieur, I am surprised."
All art from that time is a surprise. Picasso is surprised and surprising. So much so that from there recently abandoned Cubism, it is more rational first and then gives the neoclassical. In 1917 he was already with another artist and Cocteau and Satie, while many others in uniform gray drown in the swamps of the trenches on the Marne, while Celine writes the first lines of his novel and grim existentialist, Journey to the End of the Night, Sports a ballet scene of elegance and lightheartedness, Parade, which ends in a brawl with the criticism. The costumes by now already "late cubist" were on board, such as Picasso's first guitar.
And in those years the artist that most had had close Georges Braque, with whom he shared studio from 1911 to 1914 in such a blend of style and inspiration when they parted, according to many, were not always able to distinguish the paintings of one than the other. Braque perfectly represent the line of French art that glorified the 'art pour l'art', art as an end in itself, and then separated from any social issue, any policy that was not purely aesthetic. The ethics of the art "without ethics." It was emblematic of his painting of 1910 Violin, glass and knife, as was the "breach" of 1911, all broken, and how it will be many others depicting scores, tables, musical instruments. It was pure pleasure of painting where the allusion to music was not random because the painting asemantic aspired to become like music.
And Picasso seized of the issue, but it takes the warmth of his character, and with the heat, the irony. He also attended the music, the evaporation of his friend Erik Satie, who was not devoid of semantic dimension, indeed it was the constant quest for questioning, even the funny and irreverent, self-righteous values. And they were both in line with the culture of iconoclasm in Paris that he had found compact provocations of Ubu Roi, the play superprovocatoria Alfred Jarry and anarchic, and that would lead from there to very little, to the provocations of Marcel Duchamp.
Picasso then steals the violin to Braque. Do not forget his own Hispanic origin, much more to guitar to violin, which he still speaks a heavily accented French. Invent the guitar as a totem and gives a sense of the instrument played in the evenings among students and artists in Montmartre, makes it a sinuous body of the female within the Cubist grammar. And then he begins to play with the theme applied that generous and inexhaustible creativity. Why Picasso throughout his career will be formally only in appearance. For him, the bike is a fun way existential ride for life and his relentless surprises.
This leads him constantly to give up style just conquered and dominated for a new deal. And the friendships are just an additional tool for meetings, incentives and ideas. Through Satie meets the young Cocteau, who, in that same 1912 where they happen all colors and all sounds, it does show the way by his contemporaries, in his early twenties but already at the height of his fame, the dancer Nijinsky. The Russian reveals the key to success and modernity, saying "Monsieur, I am surprised."
All art from that time is a surprise. Picasso is surprised and surprising. So much so that from there recently abandoned Cubism, it is more rational first and then gives the neoclassical. In 1917 he was already with another artist and Cocteau and Satie, while many others in uniform gray drown in the swamps of the trenches on the Marne, while Celine writes the first lines of his novel and grim existentialist, Journey to the End of the Night, Sports a ballet scene of elegance and lightheartedness, Parade, which ends in a brawl with the criticism. The costumes by now already "late cubist" were on board, such as Picasso's first guitar.
Source: Avvenire.it
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