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Pablo Picasso
(Málaga, 1881 - 1973, Mougins)
Picasso went through a tumultuous development in the first decade and a half of the century, but was always attempting to resolve a stylistic problem. From 1907 on, partly in close association with Braque, he adhered wholeheartedly to Cubism, but a change occurred in 1915 which permitted him to work in several styles at once, combining his own treatment of synthetic Cubism of 1912/13 with recourse to earlier traditions.
His bent for the Classical in the style of Ingres was reinforced in 1917 by his call to Rome to work with the Russian ballet of Sergei Diaghilev. But, then, the Cubism too of this Roman sojourn undergoes a certain Latinizing influence. This Italian girl, painted in Rome in 1917, is done in naively brilliant colours having the gaiety of folk art. The overlapping "superimposed planes", which define the volume of the picture, have the effect of a collage of bits of shiny coloured paper, and in the simultaneous representation of two views the girl’s blue profile is placed like a playful mask against the pink en-face view of the head. She appears to be leaning on a marble parapet to enjoy the sights of the eternal city. This painting is a pleasant pause between the "Harlequin" of 1915 and the "Three Musicians" of 1921, both versions of which signify the climax of synthetic Cubism. Zervos publishes two drawings for this picture. The "Harlequin and Woman with the Necklace", done in Rome at the same time, is related very closely to our picture.
Pablo Picasso
(Málaga, 1881 - 1973, Mougins)
Picasso went through a tumultuous development in the first decade and a half of the century, but was always attempting to resolve a stylistic problem. From 1907 on, partly in close association with Braque, he adhered wholeheartedly to Cubism, but a change occurred in 1915 which permitted him to work in several styles at once, combining his own treatment of synthetic Cubism of 1912/13 with recourse to earlier traditions.
His bent for the Classical in the style of Ingres was reinforced in 1917 by his call to Rome to work with the Russian ballet of Sergei Diaghilev. But, then, the Cubism too of this Roman sojourn undergoes a certain Latinizing influence. This Italian girl, painted in Rome in 1917, is done in naively brilliant colours having the gaiety of folk art. The overlapping "superimposed planes", which define the volume of the picture, have the effect of a collage of bits of shiny coloured paper, and in the simultaneous representation of two views the girl’s blue profile is placed like a playful mask against the pink en-face view of the head. She appears to be leaning on a marble parapet to enjoy the sights of the eternal city. This painting is a pleasant pause between the "Harlequin" of 1915 and the "Three Musicians" of 1921, both versions of which signify the climax of synthetic Cubism. Zervos publishes two drawings for this picture. The "Harlequin and Woman with the Necklace", done in Rome at the same time, is related very closely to our picture.
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