Length1h 25m
About this audiobook
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturally, joined those who called themselves modernists, the non-conformist artists and writers, those whom Sabartés called “the élite of Catalan thought” and who were grouped around the artists’ café Els Quatre Gats. During 1899 and 1900 the only subjects Picasso deemed worthy of painting were those which reflected the “final truth”; the transience of human life and the inevitability of death. His early works, ranged under the name of “Blue Period” (1901-1904), consist in blue-tinted paintings influenced by a trip through Spain and the death of his friend, Casagemas. Even though Picasso himself repeatedly insisted on the inner, subjective nature of the Blue Period, its genesis and, especially, the monochromatic blue were for many years explained as merely the results of various aesthetic influences. Between 1905 and 1907, Picasso entered a new phase, called “Rose Period” characterised by a more cheerful style with orange and pink colours. In Gosol, in the summer of 1906 the nude female form assumed an extraordinary importance for Picasso; he equated a depersonalised, aboriginal, simple nakedness with the concept of “woman”. The importance that female nudes were to assume as subjects for Picasso in the next few months (in the winter and spring of 1907) came when he developed the composition of the large painting, Les Demoiselles d’Avignon. Just as African art is usually considered the factor leading to the development of Picasso’s classic aesthetics in 1907, the lessons of Cézanne are perceived as the cornerstone of this new progression. This relates, first of all, to a spatial conception of the canvas as a composed entity, subjected to a certain constructive system. Georges Braque, with whom Picasso became friends in the autumn of 1908 and together with whom he led Cubism during the six years of its apogee, was amazed by the similarity of Picasso’s pictorial experiments to his own. He explained that: “Cubism’s main direction was the materialisation of space.” After his Cubist period, in the 1920s, Picasso returned to a more figurative style and got closer to the surrealist movement. He represented distorted and monstrous bodies but in a very personal style. After the bombing of Guernica during 1937, Picasso made one of his most famous works which starkly symbolises the horrors of that war and, indeed, all wars. In the 1960s, his art changed again and Picasso began looking at the art of great masters and based his paintings on ones by Velázquez, Poussin, Goya, Manet, Courbet and Delacroix. Picasso’s final works were a mixture of style, becoming more colourful, expressive and optimistic. Picasso died in 1973, in his villa in Mougins...
Audiobook details
GenreOther
Length1 hr 25 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
LanguageEnglish
Table of contents
1Introduction
63Composition with a Skull, 1907
2Pablo Picasso, Photograph, 1904
64Woman Seated (Nude Woman Seated), 1907-1908
3Biography
65Friendship, 1908
4Study of a Nude seen from the Back, 1895
66Friendship, 1908
5Academic Study, c. 1895-1897
67The Farmer (Half-Length), 1908
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6Portrait of the Artist’s Father, 1896
68Woman with Fan (After the Ball), 1908
7First Communion, 1896
69Nude in a Landscape (The Dryad), 1908
8Portrait of the Artist’s Mother, 1896
70Bathers, 1908
9Self-Portrait, 1896
71Three Women, 1908
10The Embrace, 1900
72Peasant Woman (Full-Length), 1908
11Woman Reading, 1900
73Pitcher and Bowls, 1908
12Le Moulin de la Galette, 1900
74House and Trees (House in a Garden), 1908
13Frenzy, 1900
75Green Bowl and Black Bottle, 1908
14Pierrot and a Dancer, 1900
76Bunch of Flowers in a Grey Jug, 1908
15Self-Portrait, 1901
77Bowl with Fruit and Wineglass (Still-Life with Bowl and Fruit), 1908-1909
16Two Figures in Profile and the Head of a Man, Studies, 1901
78Queen Isabeau, 1908-1909
17Le Gourmet, 1901
79Woman with a Mandolin, 1908-1909
18Harlequin and His Companion, 1901
80House in a Garden (House and Trees), 1909
19Child with a Pigeon, 1901
81Lady with a Fan, 1909
20The Absinthe Drinker, 1901
82Man with Crossed Arms, 1909
21The Absinthe Drinker, 1901
83Factory in Horta de Ebro, 1909
22The Burial of Casagémas, 1901
84Nude Woman Sitting in an Armchair (Young Woman), 1909
23The Burial of Casagémas (Evocation), 1901
85Woman Seated in an Armchair, 1909-1910
24Portrait of the Poet Sabartes (The Glass of Beer), 1901
86Portrait of Ambroise Vollard, 1910
25Self-Portrait, 1901
87Portrait of Henri Kahnweiler, 1910
26The Visit (Two Sisters), 1902
88Violin, Wineglass, Pipe and Inkpot, 1912
27Prostitutes at the Bar, 1902
89Still life with Chair Caning, 1912
28Poverty-Stricken Woman, 1902
90Bottle of Pernod and Wineglass (Table in a Café), 1912
29Mother and Child, 1902
91Violin, 1912
30Nude Woman with Crossed Legs
92Violin and Guitar, 1913
31Portrait of Soler, 1903
93Clarinet and Violin, 1913
32The Soler Family, 1903
94Musical Instruments, 1913
33Old Jew and a Boy, 1903
95Tavern (The Ham), 1914
34Poor People on the Seashore (The Tragedy), 1903
96Composition Bowl of Fruit and Sliced Pear, 1914
35Head of a Woman with a Scarf, 1903
97Bowl of Fruit with Bunch of Grapes and Sliced Pear, 1914
36Life, 1903
98Portrait of a Young Girl (Woman Seated in Front of a Fireplace), 1914
37Celestina, 1904
99The Bathers, 1918
38Woman with a Helmet of Hair (An Acrobat’s Wife), 1904
100Women Running on the Beach, 1922
39Boy with a Dog, 1905
101Paul as Harlequin, 1924
40Tumblers (Mother and Son), 1905
102The Kiss, 1925
41Clown with a Young Acrobat, 1905
103The Crucifixion, 1930
42Young Acrobat on a Ball, 1905
104The Sculptor, 1931
43Family of Saltimbanques (Comedians), 1905
105Figures on the Beach, 1931
44Family of Acrobats with a Monkey, 1905
106The Lecture, 1932
45Naked Boy, 1905
107The Bullfight, 1933
46Spanish Woman from Majorca, 1905
108Weeping Woman, 1937
47Boy with a Pipe, 1905
109Portrait of Marie-Thérèse Walter, 1937
48Head of an Old Man with a Crown, 1905
110The Supplicant, 1937
49Interior Scene: Nude Woman beside a Cat and a Nude Man, 1905
111Guernica, 1937
50La Toilette, 1906
112Portrait of Dora Maar, 1939
51Self-Portrait with a Palette, 1906
113The War, 1952
52Glassware, Still-Life with a Porro, 1906
114The Peace, 1952
53Two Naked Women, 1906
115Portrait of Jacqueline with Flowers, 1954
54Self-Portrait, 1906
116Women of Algiers (after Delacroix), 1955
55The Two Brothers, 1906
117Les Ménines (after Velázquez), 1957
56Boy Leading a Horse, 1906
118Woman with a Hat (Half-Length), 1962
57Nude (Half-Length), 1907
119Déjeuner sur l’herbe (after Manet), 1962
58Chest of a Woman, 1907
120The Kidnapping of the Sabines, 1963
59Chest of a Woman, 1907
121The Painter and His Model, 1963
60Head, 1907
122Portrait of Jacqueline, 1963
61Les Demoiselles d’Avignon, 1907
123Self-Portrait (Head), 1972
62The Dance of the Veils (Nude with Draper), 1907
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