What Does Picasso's Painting Tell About Humanity?

Picasso and the Mood of a Painting

The mood of a painting can be strongly influenced by its colors. Interestingly, there are several cases where a painting'due south colors are quite abnormal, but the luminance is correct. Our Where arrangement sees the paintings clearly, but our What system is confused by the coloring.

Self-Portrait, Pablo Picasso, 1901. Here, Picasso presents himself as a romantic, maverick effigy — a moody immature creative person who fixes the viewer with a hypnotic stare.

In Picasso's "Blue Period" (1901-1904), his blue paintings portray destitute human beings. Blueish was called deliberately — deep and cold, signifying misery and despair — to intensify the hopelessness of the figures depicted, such as beggars, prostitutes, the blind, out-of-work actors and circus folk, besides as Picasso himself and his penniless friends. At the time, Picasso even wore blue wearing apparel.

La Celestina, Pablo Picasso, 1904. Celestina, a notorious procuress from a 15th century Spanish play is the subject field of one of the last great works of Picasso's Blue Period.

The "Blue Menstruum" dramatizes the creative person as an outcast from lodge. Indeed, in Paris at that fourth dimension, far from family and habitation, Picasso is unrecognized, unappreciated and in extreme poverty. Moreover, as Jaime Sabartes, his closest friend at the time, wrote:

"Picasso believed Art to the son of Sadness and Suffering… that sadness lent itself to meditation and that suffering was central to life… If we demand sincerity of an artist, we must remember that sincerity is non to exist found outside the realm of grief."

Picasso's "Blueish Period" is further triggered past the fate of his closest friend, Carles Casagemas, whose infatuation with a girl and her rejection led to his subsequent attempt to kill her and to his own suicide. Picasso explained afterward, "It was thinking about Casagemas that got me started painting in blueish."

Family of Saltimbanques, Pablo Picasso, 1905. These wandering acrobats camped on the outskirts of Paris and appeared in its modest circuses.

Gradually, Picasso's colors brighten, in what has somewhat misleadingly been termed the "Rose Menstruation" (1904-1906). Not but soft pinks, just blues, reds and greens complement these images. The emaciated figures became fuller. The new color expresses warmth and life. Picasso'southward paintings are beginning to sell, and he now has a studio, a lover and a life. The ii periods — the "Blue" and the "Rose" — grade a transition between the conventional fine art of his youth and the iconoclastic fine art of his maturity. In 1907, Picasso and Georges Braque introduce Cubism, where form no longer appears to follow the traditional rules of three-dimensional representation. The "Blueish" and "Rose" periods remain popular considering the human figure is less undistorted and more than recognizable than in Picasso's Cubist works.