ART RARITY original HAND SIGNED Piece PICASSO MIXED MEDIA Drawing COLOR LITHO

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Seller: judaica-bookstore ✉️ (2,803) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285599185057 ART RARITY original HAND SIGNED Piece PICASSO MIXED MEDIA Drawing COLOR LITHO. Pablo Ruiz Picasso[a][b] (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. DESCRIPTION : Up for auction is a UNIQUE ART RARITY , Being an original PICASSO ART piece , A MIXED MEDIA piece , Painted and illustrated by PICASSO HAND , Inscribed and dedicated to ANDRE BERNAND in ARLES in 23.9.69.  PICASSO has added by his hand quite a few addional elements - Illustrations , Drawings, Paintings  to his 1957 lithograph " VASE OF FLOWERS " (  Bloch 841; Mourlot 305; Reuße 724   ) . The whole piece is dedicated by PICASSO's hand to ANDRE BERNAND in 1969. The size is around 20"x 26". ( 50 x 65 cm ) . The piece is slightly soiled near the margins. The piece was pasted to a cardboard piece by the previous framer but it's currently somewhat detached.  ( Pls look at scan for accurate AS IS  images ). W ill be sent inside a protective packaging . AUTHENTICITY : Authenticity is 100% fully guaranteed with a return option unlimited in time. If you are in doubt - Please inquiere without hesitation.   PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT : SHIPP worldwide via expedited insured airmail to buyer's country is FREE.  All expenses in buyer's country : Handling, Tax , VAT , Customs, ect should be covered by the buyer, Will be sent inside a protective packaging . Will be sent around 5-10 days after payment . Pablo Ruiz Picasso[a][b] (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,[8][9] the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War. Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art.[10][11][12][13] Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles. Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art. Early life Picasso with his sister Lola, 1889 Picasso was born at 23:15 on 25 October 1881, in the city of Málaga, Andalusia, in southern Spain.[2] He was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López.[14] Picasso's family was of middle-class background. His father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life, Ruiz was a professor of art at the School of Crafts and a curator of a local museum.[1] Ruiz's ancestors were minor aristocrats. Picasso's birth certificate and the record of his baptism include very long names, combining those of various saints and relatives.[a][c] Ruiz y Picasso were his paternal and maternal surnames, respectively, per Spanish custom. The surname "Picasso" comes from Liguria, a coastal region of north-western Italy.[16] Pablo's maternal great-grandfather, Tommaso Picasso, moved to Spain around 1807.[16] Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were "piz, piz", a shortening of lápiz, the Spanish word for "pencil".[17] From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was a traditional academic artist and instructor, who believed that proper training required disciplined copying of the masters, and drawing the human body from plaster casts and live models. His son became preoccupied with art to the detriment of his classwork. The family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. They stayed almost four years. On one occasion, the father found his son painting over his unfinished sketch of a pigeon. Observing the precision of his son's technique, an apocryphal story relates, Ruiz felt that the thirteen-year-old Picasso had surpassed him, and vowed to give up painting,[18] though paintings by him exist from later years. In 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria.[19] After her death, the family moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home.[20] Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, and the jury admitted him, at just 13. As a student, Picasso lacked discipline but made friendships that would affect him in later life. His father rented a small room for him close to home so he could work alone, yet he checked up on him numerous times a day, judging his drawings. The two argued frequently.[21] Picasso's father and uncle decided to send the young artist to Madrid's Real Academia de Bellas Artes de San Fernando, the country's foremost art school.[20] At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrollment. Madrid held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements such as his elongated limbs, arresting colours, and mystical visages are echoed in Picasso's later work.[22] Career Before 1900 Picasso in 1904. Photograph by Ricard Canals Picasso's training under his father began before 1890. His progress can be traced in the collection of early works now held by the Museu Picasso in Barcelona, which provides one of the most comprehensive records extant of any major artist's beginnings.[23] During 1893 the juvenile quality of his earliest work falls away, and by 1894 his career as a painter can be said to have begun.[24] The academic realism apparent in the works of the mid-1890s is well displayed in The First Communion (1896), a large composition that depicts his sister, Lola. In the same year, at the age of 14, he painted Portrait of Aunt Pepa, a vigorous and dramatic portrait that Juan-Eduardo Cirlot has called "without a doubt one of the greatest in the whole history of Spanish painting."[25] In 1897, his realism began to show a Symbolist influence, for example, in a series of landscape paintings rendered in non-naturalistic violet and green tones. What some call his Modernist period (1899–1900) followed. His exposure to the work of Rossetti, Steinlen, Toulouse-Lautrec and Edvard Munch, combined with his admiration for favourite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period.[26] Picasso made his first trip to Paris, then the art capital of Europe, in 1900. There, he met his first Parisian friend, journalist and poet Max Jacob, who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. During the first five months of 1901, Picasso lived in Madrid, where he and his anarchist friend Francisco de Asís Soler founded the magazine Arte Joven (Young Art), which published five issues. Soler solicited articles and Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathizing with the state of the poor. The first issue was published on 31 March 1901, by which time the artist had started to sign his work Picasso.[27] From 1898 he signed his works as "Pablo Ruiz Picasso", then as "Pablo R. Picasso" until 1901. The change does not seem to imply a rejection of the father figure. Rather, he wanted to distinguish himself from others; initiated by his Catalan friends who habitually called him by his maternal surname, much less current than the paternal Ruiz.[28] Blue Period: 1901–1904 Further information: Picasso's Blue Period La Vie (1903), Cleveland Museum of Art The Old Guitarist (1903), Art Institute of Chicago Picasso's Blue Period (1901–1904), characterized by sombre paintings rendered in shades of blue and blue-green only occasionally warmed by other colours, began either in Spain in early 1901 or in Paris in the second half of the year.[29] Many paintings of gaunt mothers with children date from the Blue Period, during which Picasso divided his time between Barcelona and Paris. In his austere use of colour and sometimes doleful subject matter—prostitutes and beggars are frequent subjects—Picasso was influenced by a trip through Spain and by the suicide of his friend Carles Casagemas. Starting in autumn of 1901, he painted several posthumous portraits of Casagemas culminating in the gloomy allegorical painting La Vie (1903), now in the Cleveland Museum of Art.[30] The same mood pervades the well-known etching The Frugal Repast (1904),[31] which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness, a recurrent theme in Picasso's works of this period, is also represented in The Blindman's Meal (1903, the Metropolitan Museum of Art) and in the portrait of Celestina (1903). Other Blue Period works include Portrait of Soler and Portrait of Suzanne Bloch. Rose Period: 1904–1906 Further information: Picasso's Rose Period Pablo Picasso, 1905, Au Lapin Agile (At the Lapin Agile) (Arlequin tenant un verre), oil on canvas, 99.1 × 100.3 cm, Metropolitan Museum of Art The Rose Period (1904–1906)[32] is characterised by a lighter tone and style utilising orange and pink colours and featuring many circus people, acrobats and harlequins known in France as saltimbanques. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso. Picasso met Fernande Olivier, a bohemian artist who became his mistress, in Paris in 1904.[19] Olivier appears in many of his Rose Period paintings, many of which are influenced by his warm relationship with her, in addition to his increased exposure to French painting. The generally upbeat and optimistic mood of paintings in this period is reminiscent of the 1899–1901 period (i.e., just prior to the Blue Period), and 1904 can be considered a transition year between the two periods. Portrait of Gertrude Stein, 1906, Metropolitan Museum of Art, New York City. When someone commented that Stein did not look like her portrait, Picasso replied, "She will".[33] By 1905, Picasso became a favourite of American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted a portrait of Gertrude Stein and one of her nephew Allan Stein. Gertrude Stein became Picasso's principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris.[34] At one of her gatherings in 1905, he met Henri Matisse, who was to become a lifelong friend and rival. The Steins introduced him to Claribel Cone and her sister Etta, who were American art collectors; they also began to acquire Picasso's and Matisse's paintings. Eventually Leo Stein moved to Italy. Michael and Sarah Stein became patrons of Matisse, while Gertrude Stein continued to collect Picassos.[35] In 1907, Picasso joined an art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler, a German art historian and art collector who became one of the premier French art dealers of the 20th century. He was among the first champions of Pablo Picasso, Georges Braque and the Cubism that they jointly developed. Kahnweiler promoted burgeoning artists such as André Derain, Kees van Dongen, Fernand Léger, Juan Gris, Maurice de Vlaminck and several others who had come from all over the globe to live and work in Montparnasse at the time.[36] African art and primitivism: 1907–1909 Les Demoiselles d'Avignon (1907), Museum of Modern Art, New York See also: Picasso's African Period and Proto-Cubism Picasso's African-influenced Period (1907–1909) begins with his painting Les Demoiselles d'Avignon. The three figures on the left were inspired by Iberian sculpture, but he repainted the faces of the two figures on the right after being powerfully impressed by African artefacts he saw in June 1907 in the ethnographic museum at Palais du Trocadéro.[37] When he displayed the painting to acquaintances in his studio later that year, the nearly universal reaction was shock and revulsion; Matisse angrily dismissed the work as a hoax.[38] Picasso did not exhibit Les Demoiselles publicly until 1916. Other works from this period include Nude with Raised Arms (1907) and Three Women (1908). Formal ideas developed during this period lead directly into the Cubist period that follows. Analytic cubism: 1909–1912 Analytic cubism (1909–1912) is a style of painting Picasso developed with Georges Braque using monochrome brownish and neutral colours. Both artists took apart objects and "analyzed" them in terms of their shapes. Picasso and Braque's paintings at this time share many similarities. In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry and Gertrude Stein. In 1911, Picasso was arrested and questioned about the theft of the Mona Lisa from the Louvre. Suspicion for the crime had initially fallen upon Apollinaire due to his links to Géry Pieret, an artist with a history of thefts from the gallery. Apollinaire in turn implicated his close friend Picasso, who had also purchased stolen artworks from the artist in the past. Afraid of a conviction that could result in his deportation to Spain, Picasso denied having ever met Apollinaire. Both were later cleared of any involvement in the painting's disappearance.[39][40] Synthetic cubism: 1912–1919 Main article: Crystal Cubism Picasso in front of his painting The Aficionado (Kunstmuseum Basel) at Villa les Clochettes, summer 1912 Synthetic cubism (1912–1919) was a further development of the genre of cubism, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art. Between 1915 and 1917, Picasso began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar or a glass, with an occasional element of collage. "Hard-edged square-cut diamonds", notes art historian John Richardson, "these gems do not always have upside or downside".[41][42] "We need a new name to designate them," wrote Picasso to Gertrude Stein. The term "Crystal Cubism" was later used as a result of visual analogies with crystals at the time.[43][41][44] These "little gems" may have been produced by Picasso in response to critics who had claimed his defection from the movement, through his experimentation with classicism within the so-called return to order following the war.[41][43] After acquiring some fame and fortune, Picasso left Olivier for Marcelle Humbert, whom he called Eva Gouel. Picasso included declarations of his love for Eva in many Cubist works. Picasso was devastated by her premature death from illness at the age of 30 in 1915.[45] At the outbreak of World War I in August 1914, Picasso was living in Avignon. Braque and Derain were mobilized and Apollinaire joined the French artillery, while the Spaniard Juan Gris remained from the Cubist circle. During the war, Picasso was able to continue painting uninterrupted, unlike his French comrades. His paintings became more sombre and his life changed with dramatic consequences. Kahnweiler's contract had terminated on his exile from France. At this point Picasso's work would be taken on by the art dealer Léonce Rosenberg. After the loss of Eva Gouel, Picasso had an affair with Gaby Lespinasse. During the spring of 1916, Apollinaire returned from the front wounded. They renewed their friendship, but Picasso began to frequent new social circles.[46] Costume design by Pablo Picasso representing skyscrapers and boulevards, for Serge Diaghilev's Ballets Russes performance of Parade at Théâtre du Châtelet, Paris 18 May 1917 Further information: Picasso and the Ballets Russes Towards the end of World War I, Picasso became involved with Serge Diaghilev's Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris, and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev's troupe, for whom Picasso was designing a ballet, Erik Satie's Parade, in Rome; they spent their honeymoon near Biarritz in the villa of glamorous Chilean art patron Eugenia Errázuriz. After returning from his honeymoon and in need of money, Picasso started his exclusive relationship with the French-Jewish art dealer Paul Rosenberg. As part of his first duties, Rosenberg agreed to rent the couple an apartment in Paris at his own expense, which was located next to his own house. This was the start of a deep brother-like friendship between two very different men, that would last until the outbreak of World War II. Khokhlova introduced Picasso to high society, formal dinner parties, and other dimensions of the life of the rich in 1920s Paris. The two had a son, Paulo Picasso,[47] who would grow up to be a motorcycle racer and chauffeur to his father. Khokhlova's insistence on social propriety clashed with Picasso's bohemian tendencies and the two lived in a state of constant conflict. During the same period that Picasso collaborated with Diaghilev's troupe, he and Igor Stravinsky collaborated on Pulcinella in 1920. Picasso took the opportunity to make several drawings of the composer.[48] In 1927, Picasso met 17-year-old Marie-Thérèse Walter and began a secret affair with her. Picasso's marriage to Khokhlova soon ended in separation rather than divorce, as French law required an even division of property in the case of divorce, and Picasso did not want Khokhlova to have half his wealth. The two remained legally married until Khokhlova's death in 1955. Picasso carried on a long-standing affair with Marie-Thérèse Walter and fathered a daughter with her, named Maya. Marie-Thérèse lived in the vain hope that Picasso would one day marry her, and hanged herself four years after Picasso's death. 1909, Femme assise (Sitzende Frau), oil on canvas, 100 × 80 cm (39 x 31 in), Staatliche Museen, Neue Nationalgalerie, Berlin 1909, Femme assise (Sitzende Frau), oil on canvas, 100 × 80 cm (39 x 31 in), Staatliche Museen, Neue Nationalgalerie, Berlin 1909–10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm (36 x 28 in), Tate Modern, London. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921 1909–10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm (36 x 28 in), Tate Modern, London. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 × 60 cm (28 x 23 in), Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 × 60 cm (28 x 23 in), Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm (39 x 28 in), Museum of Modern Art, New York 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm (39 x 28 in), Museum of Modern Art, New York 1910, Portrait of Daniel-Henry Kahnweiler, The Art Institute of Chicago. Picasso wrote of Kahnweiler "What would have become of us if Kahnweiler hadn't had a business sense?" 1910, Portrait of Daniel-Henry Kahnweiler, The Art Institute of Chicago. Picasso wrote of Kahnweiler "What would have become of us if Kahnweiler hadn't had a business sense?" 1910–11, Guitariste, La mandoliniste (Woman playing guitar or mandolin), oil on canvas 1910–11, Guitariste, La mandoliniste (Woman playing guitar or mandolin), oil on canvas c.1911, Le Guitariste. Reproduced in Albert Gleizes and Jean Metzinger, Du "Cubisme", 1912 c.1911, Le Guitariste. Reproduced in Albert Gleizes and Jean Metzinger, Du "Cubisme", 1912 1911, Still Life with a Bottle of Rum, oil on canvas, 61.3 × 50.5 cm (24 x 19 in), Metropolitan Museum of Art, New York 1911, Still Life with a Bottle of Rum, oil on canvas, 61.3 × 50.5 cm (24 x 19 in), Metropolitan Museum of Art, New York 1911, The Poet (Le poète), oil on linen, 131.2 × 89.5 cm (51 5/8 × 35 1/4 in), The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice 1911, The Poet (Le poète), oil on linen, 131.2 × 89.5 cm (51 5/8 × 35 1/4 in), The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice 1911–12, Violon (Violin), oil on canvas, 100 × 73 cm (39 x 28 in) (oval), Kröller-Müller Museum, Otterlo, Netherlands. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921 1911–12, Violon (Violin), oil on canvas, 100 × 73 cm (39 x 28 in) (oval), Kröller-Müller Museum, Otterlo, Netherlands. This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921 1913, Bouteille, clarinet, violon, journal, verre, 55 × 45 cm (21 x 17 in). This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921 1913, Bouteille, clarinet, violon, journal, verre, 55 × 45 cm (21 x 17 in). This painting from the collection of Wilhelm Uhde was confiscated by the French state and sold at the Hôtel Drouot in 1921 1913, Femme assise dans un fauteuil (Eva), Woman in a Chemise in an Armchair, oil on canvas, 149.9 × 99.4 cm (59 x 39 in), Leonard A. Lauder Cubist Collection, Metropolitan Museum of Art 1913, Femme assise dans un fauteuil (Eva), Woman in a Chemise in an Armchair, oil on canvas, 149.9 × 99.4 cm (59 x 39 in), Leonard A. Lauder Cubist Collection, Metropolitan Museum of Art 1913–14, Head (Tête), cut and pasted coloured paper, gouache and charcoal on paperboard, 43.5 × 33 cm (17 x 12.9 in), Scottish National Gallery of Modern Art, Edinburgh 1913–14, Head (Tête), cut and pasted coloured paper, gouache and charcoal on paperboard, 43.5 × 33 cm (17 x 12.9 in), Scottish National Gallery of Modern Art, Edinburgh 1913–14, L'Homme aux cartes (Card Player), oil on canvas, 108 × 89.5 cm (42 x 35 in), Museum of Modern Art, New York 1913–14, L'Homme aux cartes (Card Player), oil on canvas, 108 × 89.5 cm (42 x 35 in), Museum of Modern Art, New York 1914–15, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 63.5 × 78.7 cm (25 × 31 in), Columbus Museum of Art, Ohio 1914–15, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 63.5 × 78.7 cm (25 × 31 in), Columbus Museum of Art, Ohio 1916, L'anis del mono (Bottle of Anis del Mono), oil on canvas, 46 × 54.6 cm (18 x 21 in), Detroit Institute of Arts, Michigan 1916, L'anis del mono (Bottle of Anis del Mono), oil on canvas, 46 × 54.6 cm (18 x 21 in), Detroit Institute of Arts, Michigan Parade, 1917, curtain designed for the ballet Parade. The work is the largest of Picasso's paintings. Centre Pompidou-Metz, Metz, France, May 2012 Parade, 1917, curtain designed for the ballet Parade. The work is the largest of Picasso's paintings. Centre Pompidou-Metz, Metz, France, May 2012 Neoclassicism and surrealism: 1919–1929 Pablo Picasso, 1921, Nu assis s'essuyant le pied (Seated Nude Drying her Foot), pastel, 66 x 50.8 cm, Berggruen Museum In February 1917, Picasso made his first trip to Italy.[49] In the period following the upheaval of World War I, Picasso produced work in a neoclassical style. This "return to order" is evident in the work of many European artists in the 1920s, including André Derain, Giorgio de Chirico, Gino Severini, Jean Metzinger, the artists of the New Objectivity movement and of the Novecento Italiano movement. Picasso's paintings and drawings from this period frequently recall the work of Raphael and Ingres. In 1925 the Surrealist writer and poet André Breton declared Picasso as 'one of ours' in his article Le Surréalisme et la peinture, published in Révolution surréaliste. Les Demoiselles was reproduced for the first time in Europe in the same issue. Yet Picasso exhibited Cubist works at the first Surrealist group exhibition in 1925; the concept of 'psychic automatism in its pure state' defined in the Manifeste du surréalisme never appealed to him entirely. He did at the time develop new imagery and formal syntax for expressing himself emotionally, "releasing the violence, the psychic fears and the eroticism that had been largely contained or sublimated since 1909", writes art historian Melissa McQuillan.[50] Although this transition in Picasso's work was informed by Cubism for its spatial relations, "the fusion of ritual and abandon in the imagery recalls the primitivism of the Demoiselles and the elusive psychological resonances of his Symbolist work", writes McQuillan.[50] Surrealism revived Picasso's attraction to primitivism and eroticism.[50] Pablo Picasso, 1918, Pierrot, oil on canvas, 92.7 × 73 cm, Museum of Modern Art, New York Pablo Picasso, 1918, Pierrot, oil on canvas, 92.7 × 73 cm, Museum of Modern Art, New York Pablo Picasso, 1918, Portrait d'Olga dans un fauteuil (Olga in an Armchair), Musée Picasso, Paris, France Pablo Picasso, 1918, Portrait d'Olga dans un fauteuil (Olga in an Armchair), Musée Picasso, Paris, France Pablo Picasso, 1919, Sleeping Peasants, gouache, watercolor and pencil on paper, 31.1 × 48.9 cm, Museum of Modern Art Pablo Picasso, 1919, Sleeping Peasants, gouache, watercolor and pencil on paper, 31.1 × 48.9 cm, Museum of Modern Art The Great Depression to MoMA exhibition: 1930–1939 During the 1930s, the minotaur replaced the harlequin as a common motif in his work. His use of the minotaur came partly from his contact with the surrealists, who often used it as their symbol, and it appears in Picasso's Guernica. The minotaur and Picasso's mistress Marie-Thérèse Walter are heavily featured in his celebrated Vollard Suite of etchings.[51] Guernica, 1937, Museo Reina Sofia, Madrid Arguably Picasso's most famous work is his depiction of the German bombing of Guernica during the Spanish Civil War – Guernica. This large canvas embodies for many the inhumanity, brutality and hopelessness of war. Asked to explain its symbolism, Picasso said, "It isn't up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them."[52][53] Guernica was exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, and then became the centerpiece of an exhibition of 118 works by Picasso, Matisse, Braque and Henri Laurens that toured Scandinavia and England. After the victory of Francisco Franco in Spain, the painting was sent to the United States to raise funds and support for Spanish refugees. Until 1981 it was entrusted to the Museum of Modern Art (MoMA) in New York City, as it was Picasso's expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country. In 1939 and 1940, the Museum of Modern Art in New York City, under its director Alfred Barr, a Picasso enthusiast, held a major retrospective of Picasso's principal works until that time. This exhibition lionized Picasso, brought into full public view in America the scope of his artistry, and resulted in a reinterpretation of his work by contemporary art historians and scholars.[54] According to Jonathan Weinberg, "Given the extraordinary quality of the show and Picasso's enormous prestige, generally heightened by the political impact of Guernica ... the critics were surprisingly ambivalent".[55] Picasso's "multiplicity of styles" was disturbing to one journalist; another described him as "wayward and even malicious"; Alfred Frankenstein's review in ARTnews concluded that Picasso was both charlatan and genius.[55] World War II and late 1940s: 1939–1949 Stanisław Lorentz guides Picasso through the National Museum in Warsaw in Poland during the exhibition Contemporary French Painters and Pablo Picasso's Ceramics, 1948. Picasso gave Warsaw's museum over a dozen of his ceramics, drawings, and colour prints.[56] Scene from the Degenerate art auction, spring 1938, published in a Swiss newspaper. Works by Picasso, Head of a Woman (lot 117), Two Harlequins (lot 115).[57] During World War II, Picasso remained in Paris while the Germans occupied the city. Picasso's artistic style did not fit the Nazi ideal of art, so he did not exhibit during this time. He was often harassed by the Gestapo. During one search of his apartment, an officer saw a photograph of the painting Guernica. "Did you do that?" the German asked Picasso. "No," he replied, "You did."[58] Retreating to his studio, he continued to paint, producing works such as the Still Life with Guitar (1942) and The Charnel House (1944–48). Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.[59] Around this time, Picasso wrote poetry as an alternative outlet. Between 1935 and 1959 he wrote over 300 poems. Largely untitled except for a date and sometimes the location of where it was written (for example "Paris 16 May 1936"), these works were gustatory, erotic, and at times scatological, as were his two full-length plays, Desire Caught by the Tail (1941), and The Four Little Girls (1949).[60] In 1944, after the liberation of Paris, Picasso, then 63 years old, began a romantic relationship with a young art student named Françoise Gilot. She was 40 years younger than he was. Picasso grew tired of his mistress Dora Maar; Picasso and Gilot began to live together. Eventually they had two children: Claude Picasso, born in 1947 and Paloma Picasso, born in 1949. In her 1964 book Life with Picasso,[61] Gilot describes his abusive treatment and myriad infidelities which led her to leave him, taking the children with her. This was a severe blow to Picasso. Picasso photographed in 1953 by Paolo Monti during an exhibition at Palazzo Reale in Milan (Fondo Paolo Monti, BEIC) Picasso had affairs with women of an even greater age disparity than his and Gilot's. While still involved with Gilot, in 1951 Picasso had a six-week affair with Geneviève Laporte, who was four years younger than Gilot. By his 70s, many paintings, ink drawings and prints have as their theme an old, grotesque dwarf as the doting lover of a beautiful young model. Jacqueline Roque (1927–1986) worked at the Madoura Pottery in Vallauris on the French Riviera, where Picasso made and painted ceramics. She became his lover, and then his second wife in 1961. The two were together for the remainder of Picasso's life. His marriage to Roque was also a means of revenge against Gilot; with Picasso's encouragement, Gilot had divorced her then husband, Luc Simon, with the plan to marry Picasso to secure the rights of her children as Picasso's legitimate heirs. Picasso had already secretly married Roque, after Gilot had filed for divorce. His strained relationship with Claude and Paloma was never healed.[62] By this time, Picasso had constructed a huge Gothic home, and could afford large villas in the south of France, such as Mas Notre-Dame-de-Vie on the outskirts of Mougins, and in the Provence-Alpes-Côte d'Azur. He was an international celebrity, with often as much interest in his personal life as his art.[63] Later works to final years: 1949–1973 The Chicago Picasso, a 50-foot high public Cubist sculpture. Donated by Picasso to the people of Chicago in 1967 Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in mid-1949. In the 1950s, Picasso's style changed once again, as he took to producing reinterpretations of the art of the great masters. He made a series of works based on Velázquez's painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix. In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau's Testament of Orpheus (1960). In 1955, he helped make the film Le Mystère Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot. An elderly Pablo Picasso in a cloth cap, grinning at the camera Picasso in 1962 He was commissioned to make a maquette for a huge 50-foot (15 m)-high public sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. Picasso said the figure represented the head of an Afghan Hound named Kabul.[64] The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the people of the city. Picasso's final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colourful and expressive, and from 1968 to 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime.[65][66] Only later, after Picasso's death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see the late works of Picasso as prefiguring Neo-Expressionism.[67] Death Pablo Picasso died on 8 April 1973 in Mougins, France, from pulmonary edema and a heart attack, the morning after he and his wife Jacqueline entertained friends for dinner. He was interred at the Château of Vauvenargues near Aix-en-Provence, a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1962. Jacqueline prevented his children Claude and Paloma from attending the funeral.[68] Devastated and lonely after the death of Picasso, Jacqueline killed herself by gunshot in 1986 when she was 59 years old.[69] Political views Massacre in Korea, 1951 Picasso remained aloof from the Catalan independence movement during his youth despite expressing general support and being friendly with activists within it.[70] He did not join the armed forces for any side or country during World War I, the Spanish Civil War, or World War II. As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either world war. In 1940, he applied for French citizenship, but it was refused on the grounds of his "extremist ideas evolving towards communism". This information was not revealed until 2003.[71] At the start of the Spanish Civil War in 1936, Picasso was 54 years of age. Soon after hostilities began, the Republicans appointed him "director of the Prado, albeit in absentia", and "he took his duties very seriously", according to John Richardson, supplying the funds to evacuate the museum's collection to Geneva.[72] The war provided the impetus for Picasso's first overtly political work. He expressed anger and condemnation of Francisco Franco and fascists in The Dream and Lie of Franco (1937), which was produced "specifically for propagandistic and fundraising purposes".[73] This surreal fusion of words and images was intended to be sold as a series of postcards to raise funds for the Spanish Republican cause.[73][74] In 1944, Picasso joined the French Communist Party. He attended the 1948 World Congress of Intellectuals in Defense of Peace in Poland, and in 1950 received the Stalin Peace Prize from the Soviet government.[75] A portrait of Joseph Stalin made by Picasso in 1953 drew Party criticism due to being insufficiently realistic, though he remained a loyal member of the Communist Party until his death.[72] His dealer, D-H. Kahnweiler, a socialist, termed Picasso's communism "sentimental" rather than political, saying "He has never read a line of Karl Marx, nor of Engels of course."[72] In a 1945 interview with Jerome Seckler, Picasso stated: "I am a Communist and my painting is Communist painting. ... But if I were a shoemaker, Royalist or Communist or anything else, I would not necessarily hammer my shoes in a special way to show my politics."[76] His commitment to communism, common among continental intellectuals and artists at the time, has long been the subject of some controversy; a notable demonstration thereof was a quote by Salvador Dalí (with whom Picasso had a rather strained relationship[77]): Picasso es pintor, yo también; ... Picasso es español, yo también; Picasso es comunista, yo tampoco. (Picasso is a painter, so am I; ... Picasso is a Spaniard, so am I; Picasso is a communist, neither am I.)[78][79][80] In the late 1940s, his old friend the surrealist poet, Trotskyist,[81] and anti-Stalinist André Breton was more blunt; refusing to shake hands with Picasso, he told him: "I don't approve of your joining the Communist Party nor with the stand you have taken concerning the purges of the intellectuals after the Liberation."[82] As a communist, Picasso opposed the intervention of the United Nations and the United States in the Korean War, and depicted it in Massacre in Korea.[83][84] The art critic Kirsten Hoving Keen wrote that it was "inspired by reports of American atrocities" and considered it one of Picasso's communist works.[85] On 9 January 1949, Picasso created Dove, a black and white lithograph. It was used to illustrate a poster at the 1949 World Peace Council and became an iconographic image of the period, known as "The dove of peace". Picasso's image was used around the world as a symbol of the Peace Congresses and communism.[86] In 1962, he received the Lenin Peace Prize.[87] Biographer and art critic John Berger felt his talents as an artist were "wasted" by the communists.[88] According to Jean Cocteau's diaries, Picasso once said to him in reference to the communists: "I have joined a family, and like all families, it's full of shit."[89] Style and technique Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 × 52.1 cm, Philadelphia Museum of Art Pablo Picasso, 1901–02, Femme au café (Absinthe Drinker), oil on canvas, 73 × 54 cm, Hermitage Museum Picasso was exceptionally prolific throughout his long lifetime. At his death there were more than 45,000 unsold works in his estate, comprising 1,885 paintings, 1,228 sculptures, 3,222 ceramics, 7,089 drawings, 150 sketchbooks, many thousands of prints, and numerous tapestries and rugs.[90] The most complete – but not exhaustive – catalogue of his works, the catalogue raisonné compiled by Christian Zervos, lists more than 16,000 paintings and drawings.[91] Picasso's output was several times more prolific than most artists of his era; by at least one account, American artist Bob Ross is the only one to rival Picasso's volume, and Ross's artwork was designed specifically to be easily mass-produced quickly.[92] The medium in which Picasso made his most important contribution was painting.[93] In his paintings, Picasso used colour as an expressive element, but relied on drawing rather than subtleties of colour to create form and space.[93] He sometimes added sand to his paint to vary its texture. A nanoprobe of Picasso's The Red Armchair (1931), in the collection of the Art Institute of Chicago, by physicists at Argonne National Laboratory in 2012 confirmed art historians' belief that Picasso used common house paint in many of his paintings.[94][95] Much of his painting was done at night by artificial light. Picasso's early sculptures were carved from wood or modelled in wax or clay, but from 1909 to 1928 Picasso abandoned modelling and instead made sculptural constructions using diverse materials.[93] An example is Guitar (1912), a relief construction made of sheet metal and wire that Jane Fluegel terms a "three-dimensional planar counterpart of Cubist painting" that marks a "revolutionary departure from the traditional approaches, modeling and carving".[96] Pablo Picasso, 1921, Nous autres musiciens (Three Musicians), oil on canvas, 204.5 x 188.3 cm, Philadelphia Museum of Art From the beginning of his career, Picasso displayed an interest in subject matter of every kind,[97] and demonstrated a great stylistic versatility that enabled him to work in several styles at once. For example, his paintings of 1917 included the pointillist Woman with a Mantilla, the Cubist Figure in an Armchair, and the naturalistic Harlequin (all in the Museu Picasso, Barcelona). In 1919, he made a number of drawings from postcards and photographs that reflect his interest in the stylistic conventions and static character of posed photographs.[98] In 1921 he simultaneously painted several large neoclassical paintings and two versions of the Cubist composition Three Musicians (Museum of Modern Art, New York; Philadelphia Museum of Art).[49] In an interview published in 1923, Picasso said, "The several manners I have used in my art must not be considered as an evolution, or as steps towards an unknown ideal of painting ... If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them."[49] Although his Cubist works approach abstraction, Picasso never relinquished the objects of the real world as subject matter. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles.[99] When Picasso depicted complex narrative scenes it was usually in prints, drawings, and small-scale works; Guernica (1937) is one of his few large narrative paintings.[98] Picasso painted mostly from imagination or memory. According to William Rubin, Picasso "could only make great art from subjects that truly involved him ... Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own."[100] The art critic Arthur Danto said Picasso's work constitutes a "vast pictorial autobiography" that provides some basis for the popular conception that "Picasso invented a new style each time he fell in love with a new woman".[100] The autobiographical nature of Picasso's art is reinforced by his habit of dating his works, often to the day. He explained: "I want to leave to posterity a documentation that will be as complete as possible. That's why I put a date on everything I do."[100] Artistic legacy Postage stamp, USSR, 1973. Picasso has been honoured on stamps worldwide. Picasso's influence was and remains immense and widely acknowledged by his admirers and detractors alike. On the occasion of his 1939 retrospective at MoMA, Life magazine wrote: "During the 25 years he has dominated modern European art, his enemies say he has been a corrupting influence. With equal violence, his friends say he is the greatest artist alive."[101] Picasso was the first artist to receive a special honour exhibition at the Grand Gallery of the Louvre Museum in Paris in celebration of his 90 years.[102] In 1998, Robert Hughes wrote of him: "To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace. ... No painter or sculptor, not even Michelangelo, had been as famous as this in his own lifetime. ... Though Marcel Duchamp, that cunning old fox of conceptual irony, has certainly had more influence on nominally vanguard art over the past 30 years than Picasso, the Spaniard was the last great beneficiary of the belief that the language of painting and sculpture really mattered to people other than their devotees."[103] Musée Picasso, Paris (Hotel Salé, 1659) At the time of Picasso's death many of his paintings were in his possession, as he had kept off the art market what he did not need to sell. In addition, Picasso had a considerable collection of the work of other famous artists, some his contemporaries, such as Henri Matisse, with whom he had exchanged works. Since Picasso left no will, his death duties (estate tax) to the French state were paid in the form of his works and others from his collection. These works form the core of the immense and representative collection of the Musée Picasso in Paris. In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Málaga, Spain, the Museo Picasso Málaga. Museu Picasso is located in the gothic palaces of Montcada street in Barcelona The Museu Picasso in Barcelona features many of his early works, created while he was living in Spain, including many rarely seen works which reveal his firm grounding in classical techniques. The museum also holds many precise and detailed figure studies done in his youth under his father's tutelage, as well as the extensive collection of Jaime Sabartés, his close friend and personal secretary. Guernica was on display in New York's Museum of Modern Art for many years. In 1981, it was returned to Spain and was on exhibit at the Casón del Buen Retiro of the Museo del Prado. In 1992, the painting was put on display in the Reina Sofía Museum when it opened. Picasso Museum in Buitrago In 1985, a museum was established in Buitrago del Lozoya by Picasso's friend Eugenio Arias Herranz.[104] It was announced on 22 September 2020 that the project for a new Picasso Museum due to open in Aix-en-Provence in 2021, in a former convent (Couvent des Prêcheurs), which would have held the largest collection of his paintings of any museum, had been scrapped due to the fact that Catherine Hutin-Blay, Jacqueline Picasso's daughter, and the City Council had failed to reach an agreement.[105] In the 1996 movie Surviving Picasso, Picasso is portrayed by actor Anthony Hopkins.[106] Picasso is also a character in Steve Martin's 1993 play, Picasso at the Lapin Agile. In A Moveable Feast by Ernest Hemingway, Hemingway tells Gertrude Stein that he would like to have some Picassos, but cannot afford them. Later in the book, Hemingway mentions looking at one of Picasso's paintings. He refers to it as Picasso's nude of the girl with the basket of flowers, possibly related to Young Naked Girl with Flower Basket. On 8 October 2010, Picasso: Masterpieces from the Musée National Picasso, Paris, an exhibition of 150 paintings, sculptures, drawings, prints and photographs from the Musée National Picasso in Paris, opened at the Seattle Art Museum, Seattle, Washington, US. The exhibition subsequently travelled to the Virginia Museum of Fine Arts, Richmond, Virginia: the M.H. de Young Memorial Museum, San Francisco, California, US.;[107] the Art Gallery of New South Wales, Sydney, Australia;[108] and the Art Gallery of Ontario, Toronto, Ontario, Canada. As of 2015, Picasso remained the top-ranked artist (based on sales of his works at auctions) according to the Art Market Trends report.[109] More of his paintings have been stolen than any other artist's;[110] in 2012, the Art Loss Register had 1,147 of his works listed as stolen.[111] The Picasso Administration functions as his official Estate. The US copyright representative for the Picasso Administration is the Artists Rights Society.[112] Picasso is played by Antonio Banderas in the 2018 season of Genius which focuses on his life and art. The Basel vote The Kunstmuseum Basel In the 1940s, a Swiss insurance company based in Basel had bought two paintings by Picasso to diversify its investments and serve as a guarantee for the insured risks. Following an air disaster in 1967, the company had to pay out heavy reimbursements. The company decided to part with the two paintings, which were deposited in the Kunstmuseum Basel. In 1968, a large number of Basel citizens called for a local referendum on the purchase of the Picassos by the Canton of Basel-Stadt, which was successful, making it the first time in democratic history that the population of a city voted on the purchase of works of art for a public art museum.[113] The paintings therefore remained in the museum in Basel. Informed of this, Picasso donated three paintings and a sketch to the city and its museum and was later made an honorary citizen by the city.[114] Auction history Pablo Picasso, 1905, Garçon à la pipe, (Boy with a Pipe), private collection, Rose Period Several paintings by Picasso rank among the most expensive paintings in the world. Garçon à la pipe sold for US$104 million at Sotheby's on 4 May 2004, establishing a new price record. Dora Maar au Chat sold for US$95.2 million at Sotheby's on 3 May 2006.[115] On 4 May 2010, Nude, Green Leaves and Bust was sold at Christie's for $106.5 million. The 1932 work, which depicts Picasso's mistress Marie-Thérèse Walter reclining and as a bust, was in the personal collection of Los Angeles philanthropist Frances Lasker Brody, who died in November 2009.[116] On 11 May 2015 his painting Women of Algiers set the record for the highest price ever paid for a painting when it sold for US$179.3 million at Christie's in New York.[117] On 21 June 2016, a painting by Pablo Picasso titled Femme Assise (1909) sold for £43.2 million ($63.4 million) at Sotheby's London, exceeding the estimate by nearly $20 million, setting a world record for the highest price ever paid at auction for a Cubist work.[118][119] On 17 May 2017, The Jerusalem Post in an article titled "Picasso Work Stolen By Nazis Sells for $45 Million at Auction" reported the sale of a portrait painted by Picasso, the 1939 Femme assise, robe bleu, which was previously misappropriated during the early years of WWII. The painting has changed hands several times since its recovery, most recently through auction in May 2017 at Christie's in New York City.[120] In March 2018, his Femme au Béret et à la Robe Quadrillée (1937), a portrait of Marie-Thérèse Walter, sold for £49.8m at Sotheby's in London.[121] Personal life This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2022) (Learn how and when to remove this template message) Throughout his life Picasso maintained several mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women: Paulo (4 February 1921 – 5 June 1975, Paul Joseph Picasso) – with Olga Khokhlova Maya (5 September 1935 – 20 December 2022, Maria de la Concepcion Picasso) – with Marie-Thérèse Walter Claude (born 15 May 1947, Claude Pierre Pablo Picasso) – with Françoise Gilot Paloma (born 19 April 1949, Anne Paloma Picasso) – with Françoise Gilot Photographer and painter Dora Maar was also a constant companion and lover of Picasso. The two were closest in the late 1930s and early 1940s, and it was Maar who documented the painting of Guernica. The women in Picasso's life played an important role in the emotional and erotic aspects of his creative expression, and the tumultuous nature of these relationships has been considered vital to his artistic process. Many of these women functioned as muses for him, and their inclusion in his extensive oeuvre granted them a place in art history.[122] A largely recurring motif in his body of work is the female form. The variations in his relationships informed and collided with his progression of style throughout his career. For example, portraits created of his first wife, Olga, were rendered in a naturalistic style during his Neoclassical period. His relationship with Marie-Thérèse Walter inspired many of his surrealist pieces, as well as what is referred to as his "Year of Wonders".[123] Reappearance of acrobats theme in 1905 put an end to his "Blue Period" and transitioned into his "Rose Period". This transition has been incorrectly attributed to the presence of Fernande Olivier in his life.[124]: 75  Picasso has been commonly characterised as a womaniser and a misogynist, being quoted as having said to one of his mistresses, Françoise Gilot, "Women are machines for suffering."[125] He later told her, "For me there are only two kinds of women: goddesses and doormats."[126] In her memoir, Picasso, My Grandfather, Marina Picasso writes of his treatment of women, "He submitted them to his animal sexuality, tamed them, bewitched them, ingested them, and crushed them onto his canvas. After he had spent many nights extracting their essence, once they were bled dry, he would dispose of them."[127] Of the several important women in his life, two, Marie-Thèrése Walter, a mistress, and Jacqueline Roque, his second wife, died by suicide. Others, notably his first wife Olga Khokhlova, and his mistress Dora Maar, succumbed to nervous breakdowns. His son, Paulo, developed a fatal alcoholism due to depression. His grandson, Pablito, also died by suicide that same year by ingesting bleach when he was barred by Jacqueline Roque from attending the artist's funeral.[125] Catalogue raisonné Picasso entrusted Christian Zervos to constitute the catalogue raisonné of his work (painted and drawn). The first volume of the catalogue, Works from 1895 to 1906, published in 1932, entailed the financial ruin of Zervos, self-publishing under the name Cahiers d'art, forcing him to sell part of his art collection at auction to avoid bankruptcy.[128][129] From 1932 to 1978, Zervos constituted the catalogue raisonné of the complete works of Picasso in the company of the artist who had become one of his friends in 1924. Following the death of Zervos, Mila Gagarin supervised the publication of 11 additional volumes from 1970 to 1978.[130] The 33 volumes cover the entire work from 1895 to 1972, with close to 16,000 black and white photographs, in accord with the will of the artist.[131] 1932: tome I, Œuvres de 1895 à 1906. Introduction p. XI–[XXXXIX], 185 pages, 384 reproductions 1942: tome II, vol.1, Œuvres de 1906 à 1912. Introduction p. XI–[LV], 172 pages, 360 reproductions 1944: tome II, vol.2, Œuvres de 1912 à 1917. Introduction p. IX–[LXX–VIII], 233 p. pp. 173 to 406, 604 reproductions 1949: tome III, Œuvres de 1917 à 1919. Introduction p. IX–[XIII], 152 pages, 465 reproductions 1951: tome IV, Œuvres de 1920 à 1922. Introduction p. VII–[XIV], 192 pages, 455 reproductions 1952: tome V, Œuvres de 1923 à 1925. Introduction p. IX–[XIV], 188 pages, 466 reproductions 1954: tome VI, Supplément aux tomes I à V. Sans introduction, 176 pages, 1481 reproductions 1955: tome VII, Œuvres de 1926 à 1932. Introduction p. V–[VII], 184 pages, 424 reproductions This literature-related list is incomplete; you can help by adding missing items. (October 2021) 1978: Catalogue raisonné des œuvres de Pablo Picasso, Paris, Éditions Cahiers d'art[132] Further publications by Zervos Picasso. Œuvres de 1920 à 1926, Cahiers d'art, Paris Dessins de Picasso 1892–1948, Paris, Éditions Cahiers d'art, 1949 Picasso. Dessins (1892–1948), Hazan, 199 reproductions, 1949 ****Pablo Picasso and his paintings Pablo Picasso Photo Pablo Picasso is probably the most important figure of the 20th century, in terms of art, and art movements that occurred over this period. Before the age of 50, the Spanish born artist had become the most well-known name in modern art, with the most distinct style and eye for artistic creation. There had been no other artists, prior to Picasso, who had such an impact on the art world, or had a mass following of fans and critics alike, as he did. Pablo Picasso was born in Spain in 1881, and was raised there before going on to spend most of his adult life working as an artist in France. Throughout the long course of his career, he created more than 20,000 paintings, drawings, sculptures, ceramics and other items such as costumes and theater sets. He is universally renowned as one of the most influential and celebrated artists of the twentieth century. Picasso's ability to produce works in an astonishing range of styles made him well respected during his own lifetime. After his death in 1973 his value as an artist and inspiration to other artists has only grown. He is without a doubt destined to permanently etch himself into the fabric of humanity as one of the greatest artists of all time. As an artist and an innovator, he is responsible for co-founding the entire Cubist movement alongside Georges Braque. Cubism was an avant-garde art movement that changed forever the face of European painting and sculpture while simultaneously affecting contemporary architecture, music and literature. Subjects and objects in Cubism are broken up into pieces and re-arranged in an abstract form. During the period from approximately 1910-1920 when Picasso and Braque were laying the foundation for Cubism in France, its effects were so far-reaching as to inspire offshoots like the styles of Futurism, Dada, and Constructivism in other countries. Picasso is also credited with inventing constructed sculpture and co-inventing the collage art style. He is also regarded as one of three artists in the twentieth century credited with defining the elements of plastic arts. This revolutionary art form led society toward societal advances in painting, sculpture, printmaking and ceramics by physically manipulating materials that had not previously been carved or shaped. These materials were not just plastic, they were things that could be molded in some way, usually into three dimensions. Artists used clay, plaster, precious metals, and wood to create revolutionary sculptural artwork the world had never seen before. Every act of creation is first of all an act of destruction." - Pablo Picasso Picasso's Early Life Picasso was born in Malaga, Spain, to Don Jose Ruiz y Blasco and Maria Picasso y Lopez. His baptized name is much longer than the Pablo Picasso, and in traditional Andalusian custom honored several saints and relatives. His father was a painter and a professor of art, and was impressed by his son's drawing from an early age. His mother stated at one time that his first words were to ask for a pencil. At the age of seven Picasso begin receiving formal training from his father. Because of his traditional academic training, Ruiz believed training consisted of copying of masterworks and drawing the human form from live figure-models and plaster casts. In 1891 at ten years old, the family moved to A Coruna where School of Fine Arts hired Ruiz to be a professor. They spent four years there where Ruiz felt his son surpassed him as an artist at the age of 13 and reportedly vowed to give up painting. Though paintings by Ruiz still seem to have been generated years later, Picasso's father certainly felt humbled by his son's natural skill and technique. Picasso and his family were horrified when his seven-year-old sister died of diphtheria in 1895. They relocated to Barcelona and Ruiz began working at its School of Fine Arts. He persuaded officials there to let his son take an entrance exam for an advanced class and Picasso was admitted at the age of just 13. At the age of 16 he was sent to Spain's foremost art school in Madrid, the Royal Academy of San Fernando. Picasso disliked the formal instructions and decided to stop attending his classes soon after he arrived. He filled his days inside Madrid's Prado, which displayed paintings such as Francisco Goya and El Greco. The body of work Picasso created throughout his lifetime is enormous and spans from his early childhood years until his death, creating a more comprehensive record of his development than perhaps any other artist. When examining the records of his early work there is said to be a shift where the child-like quality of his drawings vanished, therefore being the official beginning of his career. That date is said to be 1894, when Picasso was just 13. At the age of 14, he painted Portrait of Aunt Pepa, a striking depiction that has been referred to as one of the best portraits in Spanish history. And at age 16, Picasso created his award-winning Science and Charity. His technique for realism, so ingrained by his father and his childhood studies, evolved with his introduction to symbolist influences. It led Picasso to develop his own take on modernism, and then to make his first trip to Paris, France. The poet Max Jacob, a Parisian friend, taught Picasso French. They shared an apartment where they experienced the true meaning of what it meant to be a "starving artist." They were cold and in poverty, burning their own work to keep the apartment warm. Picasso would predominately spend his working adult life in France. His work has been divided roughly by periods of time in which he would fully develop complex themes and feelings to create a unifying body of work. The Blue Period (1901-1904) The somber period within which Picasso both personally experienced poverty and its effect on society right around him is characterized by paintings essentially monochromatic paintings in shades of blue and blue-green, only occasionally warmed by other colors. Picasso's works during this period depict malnutrition, prostitution, and the posthumous portraits of friend Carlos Casagemas after his suicide, culminating in the gloomy allegorical painting La Vie. La Vie (1903) portrayed his friend's inner torment in the face of a lover he tried to murder. The Rose Period (1904-1906) Fitting to the name, once Picasso seemed to find some small measure of success and overcame some of his depression, he had a more cheery period featuring orange and pink hues and the playful worlds of circus people and harlequins. Picasso met a bohemian artist named Fernande Olivier who became his lover. She subsequently appeared in many of these more optimistic paintings. American art collectors Leo and Gertrude Stein became great fans of Picasso. They not only became his chief patrons, Gertrude was also pictured in his Portrait of Gertrude Stein, one of his most famous portraits. Art is a lie that makes us realize the truth." - Pablo Picasso African Influence (1907-1909) For Picasso, the seminal moment was the Paul Cezanne retrospective held at the Salon d'Automne, one year after the artist's death in 1906. Though he previously had been familiar with Cezanne, it was not until the retrospective that Picasso experienced the full impact of his artistic achievement. In Cezanne's works, Picasso found a model of how to distill the essential from nature in order to achieve a cohesive surface that expressed the artist's singular vision. At about the same time, the aesthetics of traditional African sculpture became a powerful influence among European artists. In France, Henri Matisse, Pablo Picasso, and their School of Paris friends start blending the highly stylized treatment of the human figure in African sculptures with painting styles derived from the post-Impressionist works of Cezanne and Gauguin. Les Demoiselles d'Avignon was Picasso's first masterpiece. The painting depicts five naked women with figures composed of flat, splintered planes and faces inspired by Iberian sculpture and African masks. The compressed space the figures inhabit appears to project forward in jagged shards; a fiercely pointed slice of melon in the still life of fruit at the bottom of the composition teeters on an impossibly upturned tabletop. In this painting, Picasso makes a radical departure from traditional European painting by adaptation of Primitivism and abandonment of perspective in favor of a flat, two-dimensional picture plane. When Les Demoiselles d'Avignon first appeared, it was as if the art world had collapsed. Known form and representation were completely abandoned. Hence it was called the most innovative painting in modern art history. With the new strategies applied in the painting, Picasso suddenly found freedom of expression away from current and classical French influences and was able to carve his own path. Formal ideas developed during this period lead directly into the Cubist period that follows. Others have seen what is and asked why. I have seen what could be and asked why not." - Pablo Picasso Cubism (1909-1919) It was a confluence of influences - from Paul Cézanne and Vincent van Gogh, to archaic and tribal art - that encouraged Picasso to lend his figures more weight and structure around 1907. And they ultimately set him on the path towards Cubism, in which he deconstructed the conventions of perspective that had dominated Renaissance art. During this period, the style Georges Braque and Picasso developed used mainly neutral colors and was based in they're "taking apart" objects and "analyzing them" in terms of their shapes. Cubism, especially the second form, known as Synthetic Cubism, played a great role in the development of western art world. Works of this phase emphasize the combination, or synthesis, of forms in the picture. color is extremely important in the objects' shapes because they become larger and more decorative. Non-painted objects such as newspapers or tobacco wrappers, are frequently pasted on the canvas in combination with painted areas - the incorporation of a wide variety of extraneous materials is particularly associated with Picasso's novel technique of collage. This collage technique emphasizes the differences in texture and poses the question of what is reality and what is illusion in painting. With his use of color, shape and geometrical figures, and his unique approach to depict images, Picasso changed the direction of art for generations to come. Neoclassicism, Surrealism, and Sculpture With an unsurpassed mastery of technique and skill, Picasso made his first trip to Italy in 1917 and promptly began a period of tribute to neoclassical style. Breaking from the extreme modernism he drew and painted work reminiscent of Raphael and Ingres. This was just a prelude before Picasso seemingly effortlessly began to combine his modernist concepts with his skill into surrealist masterpieces like Guernica, (1937), a frenzied and masterful combination of style that embodies the despair of war. Guernica is considered as the most powerful anti-war statement of modern art. It was done to showcase Picasso's support towards ending the war, and condemnation on fascism in general. From the beginning, Picasso chooses not to represent the horror of Guernica in realist or romantic terms. Key figures - a woman with outstretched arms, a bull, an agonized horse - are refined in sketch after sketch, then transferred to the capacious canvas, which he also reworks several times. The dark color and monochrome theme were used to depict the trying times, and the anguish which was being suffered. Guernica challenges the notions of warfare as heroic and exposes it as a brutal act of self-destruction. The works was not only a practical report or painting but also stays as a highly powerful political picture in modern art, rivaled by a few fresco paintings by Mexican artist Diego Rivera. Final Years Picasso's final works were a mixed between the many styles he'd embraced throughout his life. He dared to make sculptures larger and his paintings more expressive and colorful. Towards the end of his career, Picasso enjoyed examining Classical works that had influenced his development over the years, and produced several series of variations of paintings of Old Master, including Rembrandt, Diego Velazquez, and Edouard Manet, the founder of modern traditions. Some of the most notable works he did, include Massacre in Korea after Goya, Las Meninas after Velazquez, and Luncheon on the Grass after Manet. Many of these pieces are still influential in the art world today; and, in fact, due to the vision and distinct creative style, are still among some of the most innovative pieces which have been introduced to the art world, even during recent years. A multitude of paintings Picasso painted during his final years are now widely accepted as the beginning of the Neo-Expressionism movement. Influence of Pablo Picasso When Picasso died at age 91 in April 1973, he had become one of the most famous and successful artist throughout history. Leonardo da Vinci of the 20th Century, Picasso's true greatness and significance lie in his dual role as revolutionary and traditionalist at once. Uniquely in the 20th century he was capable of radical innovation on the one hand but on the other of continuing traditional lines. Thus in Les Demoiselles d'Avignon he vanquished the representational picture, while in Guernica he revive the genre of historical painting in a new form. He is also undeniably the most prolific genius in the history of art. His career spanned over a 78 year period, in which he created: 13,500 paintings, 100,000 prints and engravings, and 34,000 illustrations. Picasso was, and still is, seen as a magician by writers and critics, a metaphor that captures both the sense of an artist who is able to transform everything around him at a touch and a man who can also transform himself, elude us, fascinate and mesmerize us. Just like William Shakespeare on literature, and Sigmund Freud on psychology, Picasso's impact on art is tremendous. No one has achieved the same degree of widespread fame or displayed such incredible versatility as Pablo Picasso has in art history. Picasso's free spirit, his eccentric style, and his complete disregard for what others thought of his work and creative style, made him a catalyst for artists to follow. Now known as the father of modern art, Picasso's originality touched every major artist and art movement that followed in his wake. Even as of today, his life and works continue to invite countless scholarly interpretations and attract thousands of followers around the world. **** Lysistrata (/laɪˈsɪstrətə/ or /ˌlɪsəˈstrɑːtə/; Attic Greek: Λυσιστράτη, Lysistrátē, "Army Disbander") is an ancient Greek comedy by Aristophanes, originally performed in classical Athens in 411 BC. It is a comic account of a woman's extraordinary mission to end the Peloponnesian War between Greek city states by denying all the men of the land any sex, which was the only thing they truly and deeply desired. Lysistrata persuades the women of the warring cities to withhold sexual privileges from their husbands and lovers as a means of forcing the men to negotiate peace—a strategy, however, that inflames the battle between the sexes. The play is notable for being an early exposé of sexual relations in a male-dominated society. Additionally, its dramatic structure represents a shift from the conventions of Old Comedy, a trend typical of the author's career.[2] It was produced in the same year as the Thesmophoriazusae, another play with a focus on gender-based issues, just two years after Athens' catastrophic defeat in the Sicilian Expedition. Plot LYSISTRATA There are a lot of things about us women That sadden me, considering how men See us as rascals. CALONICE As indeed we are! These lines, spoken by the Athenian Lysistrata and her friend Calonice at the beginning of the play,[3] set the scene for the action that follows. Women, as represented by Calonice, are sly hedonists in need of firm guidance and direction. Lysistrata, however, is an extraordinary woman with a large sense of individual and social responsibility. She has convened a meeting of women from various Greek city-states that are at war with each other. (There is no explanation of how she manages this, but the satirical nature of the play makes this unimportant.) Soon after she confides in her friend her concerns for the female sex, the women begin arriving. With support from the Spartan Lampito, Lysistrata persuades the other women to withhold sexual privileges from their menfolk as a means of forcing them to conclude the Peloponnesian War. The women are very reluctant, but the deal is sealed with a solemn oath around a wine bowl, Lysistrata choosing the words and Calonice repeating them on behalf of the other women. It is a long and detailed oath, in which the women abjure all their sexual pleasures, including the "lioness on the cheese-grater".[6] Soon after the oath is finished, a cry of triumph is heard from the nearby Acropolis—the old women of Athens have seized control of it at Lysistrata's instigation, since it holds the state treasury, without which the men cannot long continue to fund their war. Lampito goes off to spread the word of revolt, and the other women retreat behind the barred gates of the Acropolis to await the men's response. A Chorus of Old Men arrives, intent on burning down the gate of the Acropolis if the women do not open up. Encumbered with heavy timbers, inconvenienced with smoke and burdened with old age, they are still making preparations to assault the gate when a Chorus of Old Women arrives, bearing pitchers of water. The Old Women complain about the difficulty they had getting the water, but they are ready for a fight in defence of their younger comrades. Threats are exchanged, water beats fire, and the Old Men are discomfited with a soaking. The magistrate then arrives with some Scythian Archers (the Athenian version of police constables). He reflects on the hysterical nature of women, their devotion to wine, promiscuous sex, and exotic cults (such as to Sabazius and Adonis), but above all he blames men for poor supervision of their womenfolk. He has come for silver from the state treasury to buy oars for the fleet and he instructs his Scythians to begin levering open the gate. However, they are quickly overwhelmed by groups of unruly women with such unruly names as σπερμαγοραιολεκιθολαχανοπώλιδες (seed-market-porridge-vegetable-sellers) and σκοροδοπανδοκευτριαρτοπώλιδες (garlic-innkeeping-bread-sellers).[7] Lysistrata restores order and she allows the magistrate to question her. She explains the frustrations that women feel at a time of war when the men make stupid decisions that affect everyone, and further complains that their wives' opinions are not listened to. She drapes her headdress over him, gives him a basket of wool and tells him that war will be a woman's business from now on. She then explains the pity she feels for young, childless women, ageing at home while the men are away on endless campaigns. When the magistrate points out that men also age, she reminds him that men can marry at any age whereas a woman has only a short time before she is considered too old. She then dresses the magistrate like a corpse for laying out, with a wreath and a fillet, and advises him that he's dead. Outraged at these indignities, he storms off to report the incident to his colleagues, while Lysistrata returns to the Acropolis. The debate or agon is continued between the Chorus of Old Men and the Chorus of Old Women until Lysistrata returns to the stage with some news—her comrades are desperate for sex and they are beginning to desert on the silliest pretexts (for example, one woman says she has to go home to air her fabrics by spreading them on the bed). After rallying her comrades and restoring their discipline, Lysistrata again returns to the Acropolis to continue waiting for the men's surrender. A man suddenly appears, desperate for sex. It is Kinesias, the husband of Myrrhine. Lysistrata instructs her to torture him. Myrrhine informs Kinesias that she will have sex with him but only if he promises to end the war. He promptly agrees to these terms and the young couple prepares for sex on the spot. Myrrhine fetches a bed, then a mattress, then a pillow, then a blanket, then a flask of oil, exasperating her husband with delays until finally disappointing him completely by locking herself in the Acropolis again. The Chorus of Old Men commiserates with the young man in a plaintive song. A Spartan herald then appears with a large burden (an erection) scarcely hidden inside his tunic and he requests to see the ruling council to arrange peace talks. The magistrate, now also sporting a prodigious burden, laughs at the herald's embarrassing situation but agrees that peace talks should begin. They go off to fetch the delegates. While they are gone, the Old Women make overtures to the Old Men. The Old Men are content to be comforted and fussed over by the Old Women; thereupon the two Choruses merge, singing and dancing in unison. Peace talks commence and Lysistrata introduces the Spartan and Athenian delegates to a gorgeous young woman called Reconciliation. The delegates cannot take their eyes off the young woman; meanwhile, Lysistrata scolds both sides for past errors of judgment. The delegates briefly squabble over the peace terms, but with Reconciliation before them and the burden of sexual deprivation still heavy upon them, they quickly overcome their differences and retire to the Acropolis for celebrations. The war is ended. Another choral song follows. After a bit of humorous dialogue between tipsy dinner guests, the celebrants all return to the stage for a final round of songs, the men and women dancing together. All sing a merry song in praise of Athene, goddess of wisdom and chastity, whose citadel provided a refuge for the women during the events of the comedy, and whose implied blessing has brought about a happy ending to the play. Historical background Some events that are significant for understanding the play: 424 BC: The Knights won first prize at the Lenaia. Its protagonist, a sausage-seller named Agoracritus, emerges at the end of the play as the improbable saviour of Athens (Lysistrata is its saviour thirteen years later). 421 BC: Peace was produced. Its protagonist, Trygaeus, emerges as the improbable champion of universal peace (Lysistrata's role 10 years later). The Peace of Nicias was formalised this same year, ending the first half of the Peloponnesian War (referred to in Lysistrata as "The Former War").[8] 413 BC: The Athenians and their allies suffered a catastrophic defeat in the Sicilian Expedition, a turning-point in the long-running Peloponnesian War. 411 BC: Both Thesmophoriazusae and Lysistrata were produced; an oligarchic revolution (one of the consequences of the Sicilian disaster) proved briefly successful. Old Comedy was a highly topical genre and the playwright expected his audience to be familiar with local identities and issues. The following list of identities mentioned in the play gives some indication of the difficulty faced by any producer trying to stage Lysistrata for modern audiences. Korybantes: Devotees of the Asiatic goddess Cybele—Lysistrata says that Athenian men resemble them when they do their shopping in full armour, a habit she and the other women deplore.[9] Hermokopidae: Vandals who mutilated the herms in Athens at the onset of the Sicilian Expedition, they are mentioned in the play as a reason why the peace delegates should not remove their cloaks, in case they too are vandalized.[10] Hippias: An Athenian tyrant, he receives two mentions in the play, as a sample of the kind of tyranny that the Old Men can "smell" in the revolt by the women[11] and secondly in connection with a good service that the Spartans once rendered Athens (they removed him from power by force)[12] Aristogeiton: A famous tyrannicide, he is mentioned briefly here with approval by the Old Men.[13] Cimon: An Athenian commander, mentioned here by Lysistrata in connection with the Spartan king Pericleides who had once requested and obtained Athenian help in putting down a revolt by helots.[14] Myronides: An Athenian general in the 450s, he is mentioned by the Old Men as a good example of a hairy guy, together with Phormio, the Athenian admiral who swept the Spartans from the sea between 430 and 428 BC.[15] Peisander: An Athenian aristocrat and oligarch, he is mentioned here by Lysistrata as typical of a corrupt politician exploiting the war for personal gain.[16] He was previously mentioned in Peace[17] and The Birds[18] Demostratus: An Athenian who proposed and carried the motion in support of the Sicilian Expedition, he is mentioned briefly by the magistrate.[19] Cleisthenes: A notoriously effete homosexual and the butt of many jokes in Old Comedy, he receives two mentions here, firstly as a suspected mediator between the Spartans and the Athenian women[20] and secondly as someone that sex-starved Athenian men are beginning to consider a viable proposition.[21] Theogenes: A nouveau riche politician, he is mentioned here[22] as the husband of a woman who is expected to attend the meeting called by Lysistrata. He is lampooned earlier in The Wasps,[23] Peace[24] and The Birds.[25] Lycon: A minor politician who afterwards figured significantly in the trial of Socrates,[26] he is mentioned here merely as the husband of a woman that the Old Men have a particular dislike for[27] (he is mentioned also in The Wasps).[28] Cleomenes I: A Spartan king, who is mentioned by the Old Men in connection with the heroism of ordinary Athenians in resisting Spartan interference in their politics.[29] Leonidas: The famous Spartan king who led a Greek force against the Persians at Thermopylae, he is mentioned by the Spartan envoys in association with the Athenian victory against the Persian fleet at the Battle of Artemisium.[30] Artemisia: A female ruler of Ionia, famous for her participation in the naval Battle of Salamis, she is mentioned by the Old Men with awe[31] as a kind of Amazon. Homer: The epic poet is quoted in a circuitous manner when Lysistrata quotes her husband[32] who quotes from a speech by Hector in the Iliad as he farewells his wife before going to battle: "War will be men's business."[33] Aeschylus: The tragic poet is mentioned briefly[34] as the source of a ferocious oath that Lysistrata proposes to her comrades, in which a shield is to be filled with blood; the oath is found in Aeschylus' Seven Against Thebes.[35] Euripides: The dramatic poet receives two brief mentions here, in each case by the Old Men with approval as a misogynist.[36] Pherecrates: A contemporary comic poet, he is quoted by Lysistrata as the author of the saying: "to skin a flayed dog."[37] Bupalus: A sculptor who is known to have made a caricature of the satirist Hipponax[38] he is mentioned here briefly by the Old Men in reference to their own desire to assault rebellious women.[39] Micon: An artist, he is mentioned briefly by the Old Men in reference to Amazons[40] (because he depicted a battle between Theseus and Amazons on the Painted Stoa). Timon: The legendary misanthrope, he is mentioned here with approval by the Old Women in response to the Old Men's favourable mention of Melanion, a legendary misogynist[41] Orsilochus and Pellene: An Athenian pimp and a prostitute,[42] mentioned briefly to illustrate sexual desire.[43] Pellene was also the name of a Peloponnesian town resisting Spartan pressure to contribute to naval operations against Athens at this time. It was mentioned earlier in the Birds.[44] Interpretation Modern adaptations of Lysistrata are often feminist and/or pacifist in their aim (see Influence and legacy below). The original play was neither feminist nor unreservedly pacifist. Even when they seemed to demonstrate empathy with the female condition, dramatic poets in classical Athens still reinforced sexual stereotyping of women as irrational creatures in need of protection from themselves and from others.[citation needed] In fact the play might not even be a plea for an end to the war so much as an imaginative vision of an honorable end to the war at a time when no such ending was possible.[45] According to Sarah Ruden, Lysistrata (Hackett Classics, 2003), the play "nowhere suggests that warfare in itself is intolerable, let alone immoral" (87). Old Comedy Lysistrata belongs to the middle period of Aristophanes' career when he was beginning to diverge significantly from the conventions of Old Comedy. Such variations from convention include: The divided Chorus: The Chorus begins this play being divided (Old Men versus Old Women), and its unification later exemplifies the major theme of the play: reconciliation. There is nothing quite like this use of a Chorus in the other plays. A doubling of the role of the Chorus occurs in two other middle-period plays, The Frogs and Thesmophoriazusae, but in each of those plays the two Choruses appear consecutively and not simultaneously. The nearest equivalent to Lysistrata's divided Chorus is found in the earliest of the surviving plays, The Acharnians, where the Chorus very briefly divides into factions for and against the protagonist.[46] Parabasis: In Classical Greek comedy, parabasis is 'a speech in which the chorus comes forward and addresses the audience'. The parabasis is an important, conventional element in Old Comedy. There is no parabasis proper in Lysistrata. Most plays have a second parabasis near the end and there is something like a parabasis in that position in this play but it comprises only two songs (strophe and antistrophe) and these are separated by an episodic scene of dialogue.[47] In these two songs, the now united Chorus declares that it is not prepared to speak ill of anyone on this occasion because the current situation (ta parakeímena) is already bad enough—topical reference to the catastrophic end to the Sicilian Expedition. In keeping however with the victim-centered approach of Old Comedy, the Chorus then teases the entire audience with false generosity, offering gifts that are not in its power to give. Agon: The Roman orator Quintilian considered Old Comedy a good genre for study by students of rhetoric[48] and the plays of Aristophanes in fact contain formal disputes or agons that are constructed for rhetorical effect. Lysistrata's debate with the proboulos (magistrate) is an unusual agon[49] in that one character (Lysistrata) does almost all the talking while the antagonist (the magistrate) merely asks questions or expresses indignation. The informality of the agon draws attention to the absurdity of a classical woman engaging in public debate.[50] Like most agons, however, it is structured symmetrically in two sections, each half comprising long verses of anapests that are introduced by a choral song and that end in a pnigos. In the first half of the agon, Lysistrata quotes from Homer's Iliad ("war will be men's business"), then quotes 'the man in the street' ("Isn't there a man in the country?"—"No, by God, there isn't!") and finally arrives at the only logical conclusion to these premises: "War will be women's business!" The logic of this conclusion is supported rhythmically by the pnigos, during which Lysistrata and her friends dress the magistrate like a woman, with a veil and a basket of wool, reinforcing her argument and lending it ironic point—if the men are women, obviously the war can only be women's business. During the pnigos of the second section, the magistrate is dressed like a corpse, highlighting the argument that war is a living death for women. The agon in Lysistrata is thus a fine example of rhetoric even though it is unusually one-sided. Influence and legacy c. 1611: John Fletcher wrote his play The Woman's Prize, or The Tamer Tamed, which echoes Lysistrata's sex-strike plot. 1902: Adapted as an operetta by Paul Lincke. 1910: Performed at the Little Theatre in the Adelphi in London with Gertrude Kingston in the title role. 1941: Adapted as a ballet by Richard Mohaupt, followed by a ballet suite (1946)[51] and a new ballet version titled Der Weiberstreik von Athen (1957). 1956: Lysistrata became in the 1950s The Second Greatest Sex, a movie musical with songs by Henry Mancini produced at Universal Studios and directed by George Marshall, starring Jeanne Crain, George Nader and Bert Lahr. It was re-set improbably in the 19th-century American wild west. 1961: The play served as the basis for the musical The Happiest Girl in the World. The play was revived in the National Theatre's 1992–93 season, transferring successfully from the South Bank to Wyndham's Theatre. 1968: Feminist director Mai Zetterling made a radical film Flickorna (released in English as The Girls),[52] starring three reigning Swedish film actresses: Bibi Andersson, Harriet Andersson and Gunnel Lindblom, who were depicted playing roles in Lysistrata. A 2007 staging of Lysistrata From the 2005 staging of Lysistrata produced in Central Park. 1982: Utopia's album Swing to the Right featured an anti-war song entitled "Lysistrata" that loosely paraphrases the content of the drama as dialogue between the song's protagonist and his female significant other. 1983: Şalvar Davası, a Turkish movie adaptation based loosely on Lysistrata of director Kartal Tibet starring Müjde Ar as Lysistrata. 1984: On the Perimeter by Caroline Blackwood compared activists at Greenham Common Women's Peace Camp to women of Lysistrata since "both groups of women banded together and rejected men in order to protest the pointlessness of war ..."[53] 1985: David Brin's post-apocalyptic novel The Postman, which had themes of duty, war, peace, and gender roles, is dedicated: "To Benjamin Franklin, devious genius, and to Lysistrata, who tried". 2003: In reaction to the Iraq disarmament crisis, a peace protest initiative, The Lysistrata Project, was based on readings of the play held worldwide on March 3, 2003.[54] 2004: A 100-person show called Lysistrata 100 was performed in Brooklyn, New York.[55] Edward Einhorn wrote the adaptation, which was performed in a former warehouse converted to a pub. The play was set at the Dionysia, much as the original may have been. 2005: An opera, Lysistrata, or The Nude Goddess, composed by Mark Adamo, premiered at the Houston Grand Opera in March. 2011: Lysistrata Jones, a contemporary riff by Douglas Carter Beane (book) and Lewis Flinn (music, lyrics) for the Transport Group Theater Company, starred Patti Murin and Liz Mikel, and opened in New York at the Judson Memorial Church Gymnasium and later transferred to Broadway. 2011: Valerie Schrag adapted and illustrated the play for volume one of the graphic-novel anthology The Graphic Canon, edited by Russ Kick and published by Seven Stories Press.[56] 2011: Radu Mihăileanu directed The Source (French: La Source des femmes) set in a village in North Africa, focusing on a group of women who go on strike against having to fetch water for the village from a distant, treacherous well. 2012: Isabelle Ameganvi, a civil-rights lawyer in Togo (Africa), called on the women of Togo to deny sexual relations with their men in protest against President Faure Gnassingbé.[57] 2015: American filmmaker Spike Lee's film Chi-Raq transposes the events of the play into modern-day inner-city Chicago, substituting gun violence among African-Americans for the Peloponnesian War and rhyming rap dialog for the more formal Greek poetry.[58] 2016: Animator Richard Williams's Oscar-nominated short film, Prologue, is "the first part of a feature film loosely based on Aristophanes’ anti-war play Lysisrata."[59] 2016: Writer-director Matt Cooper's film comedy Is That a Gun in Your Pocket? is about a Texas town whose women go on a sex strike to make their menfolk abandon their love of guns.[60] English translations This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2007) (Learn how and when to remove this template message) 1872, William James Hickie, The Comedies of Aristophanes. A New and Literal Translation, Vol 2 (London: Bohn's Library). 1912, published by the Athenian Society, London; unknown translator rumored to be Oscar Wilde. At Wikisource 1924, Benjamin B. Rogers, verse 1925, Jack Lindsay, verse[61] 1934, Arthur S. Way, verse 1944, Charles T. Murphy, prose and verse 1954, Dudley Fitts, prose and verse 1961, Donald Sutherland, prose and verse[62] 1963, Douglass Parker, verse 1972, Germaine Greer, prose 1973, Alan H. Sommerstein, prose and verse: available for digital loan 1988, Jeffrey Henderson, verse 1991, Nicholas Rudall 2000, George Theodoridis, 2000, prose[63] 2002, David Landon, prose and verse 2003, Sarah Ruden 2004, Paul Roche, verse and prose 2005, Edward Einhorn, prose and verse[64] 2003/06, Chris Tilley, musical version with prose and songs 2008, Ian C. Johnston, verse[65] 2010, David Stuttard, prose and verse[66] Anonymous translator, prose[67] ***** *** ebay6093/211

  • Condition: Used
  • Condition: The piece is slightly soiled near the margins. The piece was pasted to a cardboard piece by the previous framer but it's currently somewhat detached. ( Pls look at scan for accurate AS IS images ).
  • Artist: Pablo Picasso
  • Signed By: PABLO PICASSO
  • Signed: Yes
  • Size: Large
  • Material: Paper
  • Certificate of Authenticity (COA): No
  • Framing: Unframed
  • Region of Origin: ARLES FRANCE
  • Subject: VASE OF FLOWERS
  • Type: PICASSO MIXED MEDIA
  • Year of Production: 1969
  • Original/Licensed Reproduction: Original
  • Item Height: 26 in
  • Theme: Art
  • Time Period Manufactured: 1969
  • Country/Region of Manufacture: France
  • Production Technique: Mixed Media
  • Handmade: Yes
  • Item Width: 20 in

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