Pablo Picasso (1881-1973)
Spanish painter, pattern maker, engraver and sculptor... The artist, who showed his genius at a young age and showed a very long-lasting creativity, was born in the XX. century with his innovations and quests that remained consistent even though he changed form to form. completely influenced his art. He changed the city and workshop many times during his life.
After completing his academic education, Picasso discovered a side of medieval art, the works of some painters. By emphasizing the psychological content of the work, he benefited from various equivalences in the expression: blue symbolized material and spiritual collapse (blue period), and pink reminded the life of acrobats (pink period). However, in 1904, a wide-ranging change occurred in his art: in the origin of the innovation seen in his style and subjects starting from 1907-07, encounters with artists or their works. As a result of this, a convoluted and innovative understanding emerged, which became more evident by the division of objects into angular parts and distinguished by geometry; this understanding came to Cubism.
In figures and still lifes, fragmentation of volumes is observed; this fragmentation provides a structure in planes and allows a holistic view that will soon push the limits of abstraction (colors are reduced to shades of brown and gray, shapes are reduced to a few signs).
Starting from 1911, new solutions are brought to the problem of relating to reality, such as inserting numbers, letters or words into the picture space, and then integrating real elements such as newspaper or wallpaper pieces, tree or wicker imitations with the picture. Until the end of the war, he proposes a synthetic approach to the objects frequently used in the Cubist form repertoire, with various elements he used. However, with the end of the war, the ballet costumes and decorations were also included in this work, and the artist turned to a traditionally inspired, retrospective and monumental-looking painting. However, far from forgetting the Cubist experiences, he realized their numerous, even contradictory extensions, the fragmentation of forms enabling, under the surrealistic influence, a tumultuous synthesis of planes as well as a brutal play with monumental volumes; This stylization is seen, on the one hand, in the semi-abstract iron constructions he made starting from 1928-29, and on the other hand, in the female heads and busts of 1932-33.
During the war years, deformations on objects and faces become more evident, faces gain an anxious, tragic expression or become out of time with the help of classical production techniques. This period ends when the artist regains a certain calmness since 1944. And after that, Picasso diversifies his essays; sculptures made by combining ordinary objects or geometric elements, cut and dyed hair, many patterns and engravings, pottery and ceramic works
In the field of painting, he explores the diversity of plastic language with the contributions he has made from the works of himself or his contemporaries; he questions the great works of the past and takes this questioning directly as an excuse for his variations on painting, and therefore on both creativity and the painter and woman Can an audience ever hear my painting as I do? How far does a painting come to me? Who knows how far it came? I have sensed it, I have seen it, I have done it, yet I myself did not understand what I was doing the next day. How can it enter my dreams, instincts, wishes, thoughts? All this has been prepared after a long time, has come to light. Especially after my efforts to catch them, perhaps against my will, who can get into it? Everyone wants to understand the picture. Why don't they try to understand the song of the birds? Why is the night, the flower, everything that surrounds the person loved without trying to be understood? But when it comes to painting, they want to understand. Let them understand that the artist works because it is necessary. The artist should not be given more importance than the importance given to many things in nature that we do not feel the need to explain but that fascinate us, because he is one of the smallest members of the world. Those who try to explain a painting often go astray. Some time ago someone cheerfully said that they understood what my painting wanted to show. According to him, there were three musicians in the painting. It was a still life!
A painting he looked at at the Exhibition of a Lady; "Oh my master, this doesn't look like any fish, for God's sake," he says. Picasso on the other hand; Responding by saying, "You are right, ma'am, it is not a fish, it is a painting."
