Art Book -Picasso - His graphic Work Volume 1 1899-1955 - Art Pane

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eside him sets one an example of hard work and nobility. (Misia and the Muses. TheMemoirs of Misia Seri, John Day, New York 1953.) When Picasso married one of thedancers in the Russian Ballet in 1918, Misia Sert acted as witness at the ceremony. Thecouple settled at 23, Rue de la Boetie, where their son Paul was born; Misia wasgodmother. Picasso’s dealer, Paul Rosenberg, lived nearby and followed his work withthe closest interest. In the autumn of 1919 came his great success with an exhibition ofdrawings and water colors which established Picasso as a master. For this exhibition heexecuted his first lithographs: The Window at Saint-Raphael (La fenetre a St.-Raphael)[G22; here Fig. 20], as an invitation card, and a special portrait of his young wife [Fig. 21]for the cover of the catalogue for which Andre Salmon wrote the introduction.Picasso was now a family man. His young wife’s background and inclinations imposed onhim all sorts of social obligations. He was asked to design stage sets and costumes,which were much appreciated by progressive writers and producers; publisherscompeted for his work. Now that he was famous he no longer spent his holidays withBohemian friends in small country villages, but with his family at the smart hotels offashionable seaside resorts: Saint-Raphael, Juan les Pins, Dinard, Cap d’Antibes, andCannes. Finally he bought Bois- geloup, a magnificent estate midway between Paris andDieppe, about an hour’s journey from the capital. Soon, the stables and outbuildings ofthis estate and some of the rooms, too, were converted into luxuriously furnishedworkshops. He could often be seen going there in his chauffeur-driven Hispano.These changes in his life can be followed in his prints. For Diaghilev, who did not care forCubism, but believed in Picassos’s unerring taste, insisted that his collaborator shouldmake himself intelligible to the public, which always took a great interest in his work forthe stage even when they did not like it. Picasso did not object. He could always adapthimself to new environments, and amiably enough portrayed his new friends in such amanner that they were easily recognizable. Harlequin, 1917, is the last of the Cubistprints of that period [G 54; here Fig. 18]. It is the only work of that year executed oncopper with a burin. The straight line predominates and there is some shading. The hat,the mask, the diamond pattern on the costume, and the wooden sword help to makethe subject clear. The print Pierrot [Fig. 19], dated the following year, 1918, is quitedifferent; Pierrot is shown half-length, striking a pose as if he expected to be painted. Itis a print animated with music; there seems to be a humming round the figure, anervous vibration achieved by the magic touch of the needle. From now on portraitsand portrait-like subjects predominate: L’ltalienne, a portrait of Madame Picasso, threeversions of a portrait of Paul Valery [Fig. 23], portraits of Max Jacob, Pierre Reverdy [Fig.22], and Andre Breton. The portrait of his old friend Max Jacob [G 62] is particularlystriking because this sensitive dry point has all the fluency of a painting and expressesthe deep and lasting friendship between the artist and the poet. Most of these portraitswere intended as frontispieces to books published by the sitters. Simultaneously,Picasso found time to convey his tenderness and care for his family in a number ofprints showing the joys of parenthood.
Another group of etchings and lithographs is inspired by his holiday experiences andshows most clearly the influence of the new environment [Figs. 24-29]. In these, womanis his theme: mature - almost plump - sleek, charming, and graceful women who movedeliberately and bear no traces of physical labor. Picasso had watched them bathing anddisporting themselves on the promenades and beaches. The treatment stresses massand space rather than pictorial aspects, and reaches a degree of classic poise andmeasured formality for which Picasso is unique. There is a great contrast between thesesophisticated ladies of fashion whose major concern is their appearance and whocannot even do their own hair, and the woman of the Saltimbanque series who handsher baby to her husband while she uses her comb. Whereas the later series is moreurbane, more sophisticated, the earlier works were perhaps more natural, moreintimate, and more touching. We next see the artist preoccupied with the grouping ofthree women. It appears first in The Source (La Source), 1921 [G 61; here Fig. 30], ahorizontal plate worked in dry point and with a burin. Three women with jugs arcgrouped around a spring, massive figures with classical drapery modeled by shading.Picasso uses the subject again - this time in a purely linear treatment - for one of thethree etchings illustrating Reverdy’s Craoates de chanore [G 14]. Elsewhere he putsthree women into a sketchily drawn room [G 102 I], one of them being a nude seen atan angle from behind. He goes on, making small alterations and variations through anumber of states, finally completing the dry point plate with its faintly sketched outlinesas a full-bodied etching [G 102 VI]. On another occasion all three are nudes, now closertogether, and again the treatment is linear. To give a heightened effect of space, Picassonext proceeds to show the body of the right-hand figure in a combination of aspects -the buttocks from behind, the breasts in profile. By representing a figure in a number ofaspects which could not be perceived by the beholder at one and the same time, Picassointroduces time as a fourth dimension into his pictures.During the years 1922 and 1923 he completed a series of about thirty zinc plates whichaimed at uniting in one representation the profile and full-face view of a head. Heallowed each line to take its own course, just as he had in the drawings of his childhoodon the sands of Malaga. There is no doubt a heightened sculptural effect can beachieved through the simultaneous presentation of various aspects of the subject. Hetransformed the theme of the three figures still further. In no print is the inclusion of thefourth dimension more striking than in the Three Women Bathing II (Les troisbaigneuses II) [G 107], where the left figure is seen from the front, the back, and theside. This principle was further developed in a series of illustrations which revealed himas one of the greatest modern illustrators. The thirty prints illustrating Ovid’sMetamorphoses [Figs. 46-51] were commissioned by Albert Skira. Vollard, whosomewhat earlier had asked Picasso to illustrate Balzac’s Le chef-d'ceuore inconnu withthirteen original etchings [Figs. 42-45], was Skira’s great rival. Each wanted to precedethe other in the publication of Picasso’s work. Skira was the younger and morepersistent and was on the point of succeeding in his object when Vollard boldlysubstituted for two missing plates others intended for the Tauromaquia of Pepe Hillo, aproject of a Spanish publisher which had so far not been carried out. Both works
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Art Book -Picasso - His graphic Work Volume 1 1899-1955 - Art Pane

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