#picassomasterpiece

[etabetapr]

- @fondationbeyeler ・・・ #PicassoMasterpiece : A boy carries his younger brother on his back; the two appear to merge together. The elder boy’s facial features are finely modelled, whereas those of the younger one are somewhat blurred and reduced to a few shapes. Both figures are naked, and place and time are uncertain. Only the edge of the floor and dark shadows indicate the room in which they are located. The artist makes it seem here that the figures are made of the same material as the space surrounding them. The painting was produced in Gósol, a Catalan mountain village in the eastern Pyrenees, where Picasso retreated for several weeks in the early summer of 1906. Far from urban life, he began developing a new pictorial language characterised by simplicity and earthiness. Here, Picasso drew inspiration notably from the naked body, initially from the male and then the female one. The exhibition „The Young PICASSO - Blue and Rose Periods“ has been extended due to high demand and will be on show until June 16 in slightly altered constellation. This painting will be on show until May 26. #BeyelerPicasso #fondationbeyeler Credit: Pablo Picasso, "Les Deux Frères", 1906, Oil on canvas, 141,4 x 97,1 cm, Kunstmuseum Basel - Depositum der Einwohnergemeinde der Stadt Basel, © Succession Picasso / 2018, ProLitteris, Zurich #etabetapr_arte #etabetapr (presso Fondation Beyeler) https://www.instagram.com/p/BxzIAeLIddV/?igshid=1jfpiesev6zoe

[victorialily]

What 6 years of art results in from @fionawarden #mychristmaspresent #picassomasterpiece

[etabetapr]

- @fondationbeyeler #PicassoMasterpiece: “Nude on Red Background” contains the seeds of many elements of the revolution initiated in 1907 with the “Les Demoiselles d’Avignon”. A nude female figure with long hair stand out against a red background. Her head is tilted slightly, and she is holding a strand of her hair. This graceful pose is offset by the radical treatment of the body: In the geometric simplification if its forms and the elements of distortion, such as in the exaggerated fold of the figure’s right elbow or the disproportionate length of the round shoulder. The facial features are enhanced with curved lines. Except for the eyes, they are denoted by two black slits that are devoid of expression, giving the face the appearance of a mask. Due to high popularity, the exhibition “The Young PICASSO – Blue and Rose Periods” is extended until June 16, 2019! Make sure not to miss it. #BeyelerPicasso #FondationBeyeler Credits: Pablo Picasso,"Nu sur fond rouge (Jeune femme nue à la chevelure)", 1906, Oil on canvas, 81 x 54 cm, Paris, Musée de l'Orangerie, Collection Jean Walter et Paul Guillaume, © Succession Picasso / 2018, ProLitteris, Zurich, Photo: © RMN-Grand Palais (Musée de l'Orangerie), Hervé Lewandowski #etabetapr_arte (presso Fondation Beyeler) https://www.instagram.com/p/BxzH1zToyjb/?igshid=lrcdhbmeaegd

[etabetapr]

- @fondationbeyeler #PicassoMasterpiece: In this “Autoportrait” from the autumn of 1906 nothing remains of Picasso’s individuality. Picasso was in the process of abandoning the literal depiction of himself in the self-portrait. As a young artist Picasso often portrayed himself. In later works he increasingly tended to insert himself in the picture through symbolic representations. In earlier paintings the Harlequin stands for his alter ego. The massive upper body, the grayish coloring, and the mask-like face belong to the Primitivist pictorial language that Picasso developed. This gives the subject a statue-like appearance. The exhibition “The Young PICASSO – Blue and Rose Periods” has been extended and will now be on show until June 16. #BeyelerPicasso #FondationBeyeler Credit: Pablo Picasso, "Autoportrait", 1906, Oil on canvas, 65 x 54 cm, Musée national Picasso-Paris, © Succession Picasso / 2018, ProLitteris, Zürich, Photo: © RMN-Grand Palais (Musée national Picasso-Paris) / Mathieu Rabeau #etabetapr_arte (presso Fondation Beyeler) https://www.instagram.com/p/BxzHrW6opFj/?igshid=2hfugmo4cqq8

[etabetapr]

- @fondationbeyeler - #PicassoMasterpiece: In the context of #myprivatepicasso we are introducing a small series of comparisons between Picasso's early works from the blue and rose periods and the work "Buste de femme au chapeau (Dora)" 1939, looking at the different types of portraits he painted and how they developed over time. Today we are introducing "L'Hétaire" from 1901. In both paintings Picasso has portrayed a femme fatale. Dora Maar (Picasso's muse and lover and the subject of many paintings) was known for her unapproachability. The courtesan, too, meets her viewer with a certain air of distance, conveyed through her posture and her gaze. Another element linking these two portraits is Picasso’s concentration in each case on the head and shoulders of his sitters. But while the hands are still visible in the earlier painting as an integral part of the portrait, in "Buste de femme au chapeau (Dora)" they have disappeared. Striking, too, is the way in which Picasso draws our attention in both pictures to the women’s ears: in the case of Dora Maar, these almost detach themselves from the head as independent parts, while in "L’hétaïre" the courtesan’s ear is brought into focus by its decidedly red tinge, clearly isolating it from the pale face. #myprivatepicasso - a once in a lifetime opportunity to have an original work by Picasso in your own home! Assuming the painting "Buste de femme au chapeau (Dora)" was a date, how would you convince her to spend it these 24 hours with you? Apply here: www.myprivatepicasso.ch #FondationBeyeler #BeyelerPicasso #Swisscom Credit: Pablo Picasso, "L'Hétaire", 1901, oil on canvas, 65.3 x 54.5 cm, Pinacoteca Giovanelli e Marella Agnelli, Turin Pablo Picasso, "Buste de femme au chapeau (Dora)", oil on canvas, 55.0 x 46.5 cm, Fondation Beyeler, Riehen/Basel, Sammlung Beyeler #etabetapr_arte (presso Fondation Beyeler) https://www.instagram.com/mtpisani_etabetapr/p/Bvj_9VQjGqX/?utm_source=ig_tumblr_share&igshid=1o8p9elp2kftu

[etabetapr]

- @fondationbeyeler - #PicassoMasterpiece: “Yo Picasso” by Picasso, 1901. The young artist gazes defiantly over his shoulder at the viewer. His white shirt, painted with bold brushstrokes, glows against the dark background; in his right hand he holds a palette with traces of paint which, together with the lively orange and yellow in his cravat and face, create marked contrasts. The aspiring artist produced this self-portrait for his first exhibition at Ambroise Vollard’s gallery in Paris. Picasso painted himself here in a style reminiscent of Henri de Toulouse-Lautrec or Vincent van Gogh. The palette alone identifies the subject as an artist. The expressively applied colours, their brushstrokes clearly visible, carry significance: here the painter is not portrayed working, but through his work itself. The painting is a bold statement by the artist newly arrived in Paris—something that Picasso underscores with the inscription ‘Yo’ (Engl.: I) besides his signature in the upper left corner of the canvas. From this point on, he would sign his works simply ‘Picasso’—his mother’s surname. The exhibition “The Young PICASSO – Blue and Rose Periods” is on show until May 26. Parallel to this exhibition of Picasso’s earliest works, we are showing his works from the Beyeler Collection. #BeyelerPicasso #FondationBeyeler Credit: Pablo Picasso, Yo Picasso, 1901, Oil on canvas, 73,5 x 60 cm, Private Collection © Succession Picasso / 2018, ProLitteris, Zürich #etabetapr_arte #agenziadicomunicazione (presso Fondation Beyeler) https://www.instagram.com/mtpisani_etabetapr/p/BvRYXX9jyef/?utm_source=ig_tumblr_share&igshid=b8vz3xo9nmpd

[etabetapr]

- @fondationbeyeler - #PicassoMasterpiece: “Seated Harlequin” is probably the first Harlequin Picasso painted in large format. In 1901 he produced various paintings of female figures sitting waiting at café tables with iconographic elements reminiscent of Manet, Van Gogh, Toulouse-Lautrec, Degas, and Gauguin. Here, Picasso replaced the woman with a very unusual Harlequin who displays some of the characteristics of Pierrot. The pose of the “Seated Harlequin” is unnatural: the head faces in the opposite direction to the rest of the body, and the unusual position of the table helps define the perspective. The exhibition “The Young PICASSO – Blue and Rose Periods” is on show until May 26. Parallel to this exhibition of Picasso’s earliest works, we are showing his works from the Beyeler Collection. #BeyelerPicasso #FondationBeyeler #Picasso Image: Pablo Picasso, "Arlequin assis" (Seated Harlequin), 1901, Oil on canvas, 83.2 x 61.3 cm, New York, Metropolitan Museum of Art, Purchase Mr. and Mrs. John L. Loeb, Gift 1960 © Succession Picasso / 2018, ProLitteris, Zurich, Photo: ©The Metropolitan Museum of Art / Art Resource / Scala, Florence #etabetapr_arte #agenziadicomunicazione (presso Fondation Beyeler) https://www.instagram.com/mtpisani_etabetapr/p/BvRYPcMD0yM/?utm_source=ig_tumblr_share&igshid=1sntyqby58imn