The Art of Pablo Picasso

“Art is a lie that makes us realize truth”, stated Picasso, making all his artistic occupation revolve around this truth.

Regardless of his Spanish origins, the main artistic activity of Pablo Ruiz Picasso is still inseparably linked with the cradle of modern art a. k. a. Paris. Nevertheless, Spain and namely, Barcelona appear to have great impact on his formation as an artist. Along with various portraits the Spaniard used to indulge in during his early years, widely acclaimed First Communion and Science and Charity represent the very first steps of the La Lonja Art School apprentice in the artistic world, culminating his realistic aspirations at that in a city that by the time stood out for its cosmopolitan character and frequently held modernistic discussions.

Picasso’s overwhelming juvenile emotions eventually were translated into his works of the following years (The Embrace, Piero and Ballet Dancer, Corrida) putting forward colouristic resolution as the main means of emotional expression, that, however, easily exhausted itself and shortly made way to more linear, monochromatic and melancholy-filled pictures showcasing the utmost poverty of the lowest social circles (Celestina, The Frugal Repast, The Blindman’s Heal, etc). The abundance of bluish and grey shades did not last for good as the Artist’s creative inclinations of his wall art tend to less depressed themes starting from 1905. Picasso takes us on a journey filled with rather lighthearted vibes and pink shades, justifying the name of Rose Period of his career (Acrobat and Young Harlequin, A Boy with a Pipe, Family of Acrobats with Monkey).

And only in 1907 when Les Demoiselles d’Avignon came to light, Picasso finally sets himself free of fundamental academic rules by introducing two-dimensional five figures with cubism-related slight deformation, thus breaking ground for the then-upcoming artistic “revolution”.

Within Cubism, Picasso’s artistic endeavors demonstrate significant mutability and variability, starting from well-established monochromic decisions to the comeback of colour as a principal means of artistic expression, although making the latter serve here more to the delight of visual senses rather than solving through it pictorial issues. Furthermore, the Spanish artist emerged as a pioneer in breaking almost all bonds with the reality and greeting art connoisseurs as well as his admirers in a truly different dimension. The plentitude of musical instruments in the works of this period, allowing artists to freely expose their artistic approach, rings a bell with geometry-focused aspirations of Paul Cezanne and even with great Michelangelo, gradually deforming and thus liberating a form (Portrait of Ambroise Vollaire, A Woman on a Sofa, Violin ‘Beautiful Eve’; Torrero; Guitar; Violin, Glass and Bottle; The Card Player, etc).

After this long, cubism-oriented diversion, that, perhaps, signified the most important phase in Picasso’s artistic life, he presents us a neoclassical predisposition in 1910’s (Olga in the Chair, Two Women Running on the Beach, Large Bather; The Nudes) and conspicuous surrealistic tendencies in his later works (Three Dancers).

Being truly interested and involved in different genres of art from painting to sculpture, creating multiple replicas of famous artists during his career, epitomizing the Spanish Civil war-related leitmotif by the renowned ‘Guernica’ and repeating many of his previous stylistic aspirations in his late works, Picasso with his versatility denotes a sort of milestone in the history of modern art.

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