There was Picasso the neoclassicist; Picasso the cubist; Picasso the surrealist; Picasso the modernist; Picasso the ceramist; Picasso the lithographer; Picasso the sculptor; Picasso the superb draftsman; Picasso the effervescent and exuberant; Picasso the saturnine and surly; Picasso the faithful and faithless lover; Picasso the cunning financial man; Picasso the publicity seeker; Picasso the smoldering Spaniard; Picasso the joker and performer of charades; Picasso the generous; Picasso the Scrooge; even Picasso the playwright.
A genius for the ages, a man who played wonderful yet sometimes outrageous changes with art, Pablo Picasso remains without doubt the most original, the most protean and the most forceful personality in the visual arts in the first three-quarters of this century. He took a prodigious gift and with it transformed the universe of art.
Henri Matisse and Georges Braque, two painters with assured stature in modern art and both his close friends, were also original; but both developed a style and stuck pretty much to it, whereas Picasso, with a feverish creativity and lavish talent lasting into old age, was a man of many styles whose artistic life revealed a continuous process of exploration. He created his own universe, investing it with his own human beings and his own forms of beasts and myths.
“For me, a picture is neither an end nor an achievement but rather a lucky chance and art experience,” he once explained. “I try to represent what I have found, not what I am seeking. I do not seek–I find.” Read the rest of this entry »