No comments about Picasso Line Drawings and Prints (Dover Art Library).

No comments about Picasso's 'Les demoiselles d'Avignon' (Masterpieces of Western Painting).

5 comments about Shape Of My Heart (Art & Poetry Series).

1. he plays for us all. Sting's song is a haunting, beautifully composed melody from one of the most intelligent song-writers of contemporary times; beautifully if not always ideally complemented by Picasso's artwork. The marriage of poetry and art was slightly more successful in the case of Matisse and Leonard Cohen (Dance Me To The End of Love), and in the case of Cummings and Chagall (May I Feel? Said He), but it is still of a very high standard. Had I not already experienced the other two books, I would certainly have believed that this was the best of its type. The layout and font is as always, perfectly chosen, and the book is a great pleasure to look at, like all the books in this series. It is a must-buy by any standard, anyhow! A friend tells me that this is the song played in the film "Leon", so there's a film which I must watch in the future! I hope that everyone who enjoyed this book goes on to find the rest of the books in this sequence, and discovers what a really good combination of words and images can be like.



2. I bought this book for a friend of mine. It was a perfect mix of art and words. The Picasso's are perfect for the lyrics. I have a few of these books and they are nice for any art lvoer's collection.



3. Okay, so Sting and Picasso didn't really collaborate together on this, but the combination of Sting's lovely lyrics and Picasso's abstract art results in an absolute treasure of a book. This beautiful book is a wonderful way to appreciate (or be introduced to) the work of two diverse artists. In this context, Sting's lyrics really demonstrate their worth as poetry.

   Parents beware, however, that some of the art work contains some of Picasso's dark images and some nudity. It may not be something you leave on the coffee table, though it is a beautiful book.

   The Art and Poetry Series is a great idea, well executed. I recommend picking up other titles in the series.




4. It is clear that Sting loves Picasso's Art but this book is not but a small step in the very long path trought the human heart that the two atrists shared in so many points.
   Just a blink: a little thing that doesn't show the glory of Sting and Picasso. Quite an artificial mirror.
   Let's continue searching, we will find a much greater treasure.



5. What a great blend of poetry and art. I loved both and will have on my coffee table for many years to come.

2 comments about What Makes a Picasso a Picasso?.

1. A true gem. Not that big, but focuses on his best works. Very good for students doing reasearch and art lovers alike. Beautiful illustration



2. The goal of this series from The Metropolitan Museum of Art is provide an understanding of what makes an artist unique. Consequently, you will not find a large number of Picasso's paintings in this volume, but you will find over a dozen key works looked at in some detail. For example, "Guernica," which is probably his most famous painting, is presented as not only a two-page spread, but with five enlarged details. Other paintings looked at in detail are "Family of Saltimbanques," "Daniel-Enry Kahnweiler," and "Three Musicians," three paintings done in totally different styles, which, of course, is the essence of Picasso Richard Muhlberger tries to look at key facets of Picasso's long career, from the Blue Period (1902-05) to the playful abstraction of his later years.

   Muhlberger focuses on how Picasso invented new ways of picturing things, even as he worked in a number of styles. We learn that Picasso showed objects from many viewpoints at a time, distorted shapes and colors to convey emotion, while also simplifying things into basic shapes. The strength of this series is that it gets down to the essentials for each artist, so that you get the sense their style is as recognizable as their signature. These books are not really intended as introductions to artist like Picasso, Monet and Degas, but as more advanced art appreciation lessons.

1 comments about Picasso Painter and Sculptor in Clay.

1. WACK!!?? The author could of told more about him then ,rather what the man then did in his life !! But dont get me wrong it wont so bad . But the author should try again.

   I'm out...... Rashawnna

No comments about Pablo Picasso: Life and Work (Art in Focus (Konemann)).

No comments about Picasso's Vollard Suite (Painters & Sculptors).

1 comments about Discoveries: Picasso (Discoveries (Abrams)).

1. An intimate portrait of a man whose name has become synonymous with the notion of creative genius, this book traces Picasso's life from his beginnings in Spain through his many years in Paris. In it we meet his friends and loves and witness his rise from poverty to overwhelming worldwide recognition. Who was Picasso - a public figure who lived his life in the headlines, or a private person, unpredictable and filled with secrets? Above all, he was an artist who, through constant experimentation, made an indelible mark on the 20th century. LAVISHLY ILLUSTRATED with photographs.

5 comments about A Life of Picasso: Volume I, 1881-1906 (Life of Picasso, 1881-1906).

1. There should be no doubt that the first two volumes of Richardson's Picasso can be ranked alongside Ellman on both Wilde and Joyce or with Michael Holroyd's bio of Lytton Strachey. If a biographer loves his subject then that is no bad thing. Richard Ellman wrote his bios quite clearly in the style of his subjects and by so doing brought us closer to them.Ellman was obviously completely mesmerised by Oscar Wilde thus the greater the tragedy.

   Picasso was no such doomed figure. If a ever a man was blessed with talent, opportunity, lovers sycophants,wealth and long life to enjoy them then this little Iberian colossus had it all. Richardson dotes on his client in obvious awe and why not? The book is painstakingly researched and pulls up from being pedantic by the author's ability to describe the historical firmament in which Picasso's star shone. These bit players (Max Jacob, Apollinaire, Braque, etc.) are giants in their own right and yet it is only Matisse who comes out ultimately unscathed. Mr. Richardson has his own favourites and these are evidently Picasso's too.

   It is made plain that despite the comet of Picasso's life and times and all the bright shining lights his work remained inviolate and the unquestionable raison d'etre of his existence . Picasso takes obvious liberties with his friendships and lovers. If this is how a hugely successful personality can behave then Picasso can obviously be a complete swine. Mr.Richardson paints a picture of a man who, for good or evil, is able to absorb the passed and present literate and plastic art talents and synthesise them into his own staggering vision.

   It is the unmitigated audacity of Picasso to compare his work on a par with El Greco, Zurbaran, Velazquez, etc. He does though concede their greatness. Nevertheless he has not the slightest doubt that he belongs in that realm. Such nerve!

   Picasso was no monk (as the elderly Braque has sometimes been described) and evidently had an ego to match his talents. As a biography Richardson's work has to be amazing to read and leave us hungry for more. It also has to leave a bitter residue as evidence of Picasso's sometimes shabby behaviour.

   How would any of us behave if such greatness were thrust upon us? That is simply one of the unanswerable questions a great biography poses.

   Now, where are vols. III and IV?




2. I respond as a general reader and can attest that reading this work was very much like engaging in a talk with an erudite and witty and sympathic art loving friend. I say engaging as Mr Richardsom anticipates questions and provides explanations. He is also revealing, at least to my mind, about many of the important figures of the early 20th century, such as Gertrude Stein, but as well, the social and artistic revolutions that were occuring. Picasso himself, however, is determinedly apolitical.The illustrations are useful, plentiful and conveniently located adjacent to the text. Chapters may stand on their own - for example Chapter 28 "Summer at Gosol" has many interesting features that show the artist's creative energy and source of inspiration at the time, the relationship with Ferdinande contrasted with his admiration for a ninety year old patriarch of the tiny mountain village, there perilous journey by mule in and out of Gosol, the atmosphere and the creative joy that Picasso experiences, not to mention the breakthough in his work that occurs at this time. The paperback is sturdily bound and overall, as a read, I found the "story", if you will, a most engaging read.



3. of course some elements are lost forever, but it's worth contemplating these early years of picasso and to realize how much he had accomplished by say, 1905. my own image of him has tended to dwell on him as an old man doing a certain style of work... but he was (to put it crudely) young a long time.



4. I'll leave the details to others. For me, Richardson's two (so far) volumes on Picasso are the Best, thoroughly researched, and most enjoyable artist biography I've read. While many other artist bios have nearly put me to sleep (useful - if you ever WANT to go to sleep... just reach for the typical long dry artist bio..) Richardson's two volumes on the life of Picasso I've read through twice. (Allright John, where's that third book already?..)



5. Where does genius come from? What are the motives? What are the stars that guide?
   
   Picasso was arguably the most original and influential artist of the 20th century. In volume one of four planned volumes (three of which have been produced to date), John Richardson collaborates with Marilyn McCully to establish the detailed record of how Picasso developed as a man and an artist through the early Rose period. The book is made richer by Richardson's friendship with the artist and his access to Picasso's memories of key events. But he doesn't slavishly accept Picasso's version (except in damning Matisse as inferior to Picasso) but rather checks out the different versions and picks what seems to make the most sense.
   
   Picasso's fanatic desire to succeed was fueled in part by his contempt for his father's failed career as an artist and his father's views that Picasso should follow in his footsteps. Picasso also needed to be treated as special, more than most of us. Groveling before exploitive dealers built a lifelong passion to be in charge. Picasso also knew that Paris was where he had to shine and suffered greatly to make his success there. His struggles will impress you.
   
   Where the book is unequaled in my experience is in tracking down the sources of Picasso's images, gestures, styles, and innovations. The book is filled with black and white images from the works of other artists, Picasso's notebooks, photographs of the scenes and subjects, and related works that Picasso did. From these, you get a better sense of Picasso as a synthesizer of styles and modes.
   
   In closely examining Picasso's work from these years, it's easy to develop superficial impressions of what sort of man did those paintings. For instance, the paintings of women show someone who feels compelled to alternately adore and dominate women . . . especially sexually. Learning later that he locked his mistress into the studio even on the hottest days when he left adds to that impression.
   
   The book provides other powerful insights of this sort by relating the heavy use of opium by Picasso and his circle of artist friends during the Blue period. A lot of the models seem stoned in those paintings. Could it be that they were? Picasso loved to paint the circus performers and one of his first mistresses was one. Could it be that those performers are really emotional self-portraits? The book isn't clear on that point, but the possibility of the interpretation will occur to you.
   
   A few central mysteries are left undeveloped. Why did Picasso stick so long with styles that he later abandoned and which didn't sell well when he was very poor? Picasso admitted to Richardson that the Blue and Rose periods had been mistakes. Why did Picasso slow down his production at times when he had contracts and shows upcoming? How did Picasso incorporate his love for poetry into his paintings?
   
   At times Richardson is over the top in his fawning. Here's an example. Picasso is described as clearly one of the great poets of the 20th century, but Richardson doesn't reveal any evidence . . . nor was Picasso doing any poetry writing at the time of this volume. I suspect that the fawning was the price of admission for his access which rewards us in other ways.
   
   Ultimately, the book's main weakness is that the images are not in color. Fortunately, color is less important to Picasso's work during this period than in later periods. Perhaps there will be another edition at some point that will bring the full dimensions of the work to bear at least for the masterpieces.
   
   Enjoy your immersion in Picasso's chaotic world.

No comments about Correspondence: Pablo Picasso and Gertrude Stein (French List Series).