No comments about Picasso's Guernica: History, Tranformations, Meanings (California Studies in the History of Art).

1 comments about The Essential: Pablo Picasso (Essentials).

1. When a renowned photographer was asked why Picasso did not attend Henri Matisse's funeral, the reply was: "Because he didn't like death. He didn't like thinking about death......And he thought that if he stopped working, that was death."

   Picasso, arguably the artistic giant of this century, seldom stopped working and he lived to be 91. Sometimes he was found working in the nude, enjoying his reputation as an enfant terrible. He had many mistresses, and was the proud, if not doting, father of a number of love children.

   A courageous maverick who was constantly exploring new art forms, he was also somber witness to the tragedy of war as is evident in his "Guernica, 1937."

   The world may not see his like again, but here is a stunning portrait.

3 comments about Picasso: The Real Family Story.

1. Throughout the ages, poets and philosophers have extolled the virtues of womanhood and motherhood. Pablo Picasso is quoted: "My mother said to me, 'If you become a soldier you'll be a general; if you become a monk you'll end up as the pope.' Instead, I became a painter and wound up as Picasso.



2. Finally, a biography about Picasso written by a family member (his grandson by Marie-Therese Walter)that puts right all the ogre mythology. Yes, Picasso was not an ideal family man. But so much written about him in other biographies deem him almost inhuman. This bio is good because it puts all the facts out there. Good and bad. Widmaier refutes many of the "evil man myths" and gives you a straight view of what the man was really made of. I felt after reading this, a real grasp on this man/legend. A good job, that maybe his Grandfather would have appreciated, even though he was such a private person.



3. Finally, a book about Picasso that tells a coherent biographical history and backs up information with references, and all by a family member who evidently did his research (the son of Maya, Marie-Therese's daughter).
   
   The author never knew his grandfather so he had to do his research in order to write such a consice history. My favorite read on Picasso is still Francoise Gilot's "Life with Picasso" but this one is a close second. The Real Family Story is an excellent read on the artist's myriad families and the heirs of Picasso, though none of the other books by family members can be discounted.
   
   The only real slant is that Olivier Widmaier Picasso appears to be closer to the Francoise side of the family than the Olga side of the family (which may be an understatement) but in such an expansive family there are naturally divides.
   
   Importantly, delves into the troublesome estate matters left behind by Picasso, which all heirs seemed to have benefitted after a lot of legal process.

No comments about Genesis of a Painting : Picasso's Guernica.

5 comments about Picasso's War.

1. On April 26, 1937, 100 aircraft of the German Luftwaffe's Legion Condor conducted a three hour bombing attack on the city of Guernica, a small Basque town, then held by the Loyalist Republican Army. The Germans were pressured into conducting the attack by Francisco Franco, the Spanish rebel leader. Guernica was approximately 10 miles behind the front lines and was crowded with retreating soldiers and refugees. The day was the normal market day for the town and surrounding area. Local citizens crowded the marketplace, doing their weekly shopping.

   Two-thirds of the of the explosives dropped by the German bombers were 500 and 250 kilogram high explosive bombs and 20 pound anti-personnel bombs; one-third were 2 pound incendiary bombs. Approximately 1,654 people may have been killed and another 889 wounded in the attack. Reports indicate as much as 70 percent of the town was destroyed, with most of the rest heavily damaged. Fires ignited during the attack are reported to have burned for three days. Guernica fell to General Francisco Franco's advancing army two days later.

   From his home in Paris, Pablo Picasso, Spanish artist and master painter, translated the shock, horror, sorrow and outrage he shared with his fellow countrymen and most of the world's people, into a gigantic black and white mural he titled Guernica.

   Russell Martin tells the complete story of Guernica, starting with the events that lead to the creation of the painting and following Guernica as it moved from museum to museum, becoming ever more the important symbol it has become today - and one of the 20th century's greatest masterpieces. Martin examines Spain under Franco's fascist regime, the storied private life of Picasso, the messages of protest within the painting, and the controversy that surrounded Guernica.

   This painting symbolizes all that is horrible and evil in war, and the resulting suffering that occurs in wars everywhere. "Picasso's War" has been named a Book Sense 76 selection of the US Association of Independent Booksellers. It is extremely well written and fascinating - educational, critical and very personal. I cannot recommend it highly enough.
   JANA




2. Picasso's War untangles much of the criticism of the artist during WWII for remaining in France. It is an excellent discussion of Guernica--the paintings beginning as rough sketches to the final product. The tragedy at Gernica is discribed vividly, putting the reader at the scene. Martin's take on Picasso is balanced--his outstanding talent and chauvenism toward his many women are discussed. My criticism of the book lies with the total lack of illustrations. As an artist I wanted to see pictures of the initial sketches, the painting in process and a good reproduction of Guernica, not just what was on the cover. The lack of illustrations makes the book much less effective for a visual person, artist or art historian.



3. The book as a whole was rather well written, and, if someone asked me for a good nonfiction book about Picasso, there is a good chance that I would point them to this book. The book had good descriptions throughout, it was written for so that people who had very little understanding previously could understand what was going on, and the book was written so that it didn't have to be read all in one sitting. So, while I probably wouldn't pass it onto others, I feel that it was a good experience to read it.



4. I'm midway through 'Picasso's War' and so far I'm really enjoying its content. It's a well-rounded account not only of Picasso's famous artwork, but of the history and social context and Picasso's life and personal situation at the time. However, I have one huge criticism, which is that this book is full of grammatical errors - namely split infinitives on just about every page. I don't expect every author who has something interesting to say to have a perfect grasp of grammar, but surely that's what an editor is for? The lack of good editing in this text has quite spoiled the experience of reading it for me. I read very widely and I can honestly say that I've never read such a poorly edited book in all my life. Pocket Books, Simon & Schuster or whoever you are, you've done a very poor job.



5. I regret having to give this even one star. The author has thrown up a bolshevik screed that is ignorant of history. His knowledge of the Spanish Civil War seems to be entirely the product of communist propaganda; he even repeats hackneyed lies that Moscow gave up on decades ago! Aggravating the author's political bias and historical shortcomings is his terrible grammar. The author should have written a simple art review for a European, socialist-type magazine and called it quits. HOW did this over-expanded piece ever get published as a book?

5 comments about Picasso.

1. The " modernism " Picasso launched was basically the conception of the artist's oeuvre as a diary, albeit he probably, along with most qf the art establishment, would be outraged by this point of view. That was his most significant first; his development of form, merely a bi - product of his auto - biographical method. This book enables us to see clearly the connection between the man and the works, instead of the usual european way of clouding the timid author's confusion about a complex artist with politically correct aestheticism. Whether Picasso's works are all, they're hyped up to be, when considered as individual paintings, is for the individual to decide; this book is about the man Picasso, his life, and as such most refreshing.



2. I've read quite a bit on Picasso and I was quite aware of his abuses to his lovers and his friends. I also like Arianna Huffington. However, this book quickly degrades in what seems like a personal statement or act of retribution against Picasso. While the writing regarding his major works and career highlights is understated with light cast only on the negative aspects of each, his transgressions and shortcomings in both art and his social life are focused on far too much. The result is an unbalanced book that seems wholly predjudiced. One gets the overall feeling that Arianna was one of Picasso's spurned or mistreated lovers and is out for revenge. I prefer more evenly written objective material on historical characters rather then the polarized point of view offerred here. Overall, I would suggest something by John Richardson who I feel is better informed (via his personal relationship with Picasso) and able to cast objective light on one of mankind's great artists and characters.



3. this book is totally Anti-Picasso, she hardly touches his Art her only concern is ripping him apart.



4. "Picasso" by Arianna Huffington is a very thorough book that can probably be skipped, except possibly by those with an intense interest in Picasso's personal life. For the rest of us it is sufficient to know that Picasso had no friends or family, just groupies (many of whom were family) throughout his life, and, to a person, he treated them despicably. For example, he usually had several women at a time who each worshiped him. He would play them off against each other, often openly and in public, seemingly in an attempt to provoke jealous rage, murder, depression, or suicide (he succeeded grandly at all except for murder, but his best friend took care of that one for him). He found ways to treat the male groupies with equal misery. But, soap operas should last thirty minutes at most. This book goes relentlessly on and on for 500 pages determined to prove that Picasso did not take one decent breath in his whole entire long life.At a certain point the reader begins to wonder that "thou dost protest too much." So then how did he come to be hailed as the genius of the 20th Century; as the man who showed us what our world really was or at least what it really looked like? The answer to this question is somewhat complex. The easiest part of it is that he was like a human camera. He could paint exactly what he saw as if he were a camera, and, he could paint any impression of what he saw, better than any human being alive. He was half way home on that talent alone, meaningless though it may have been. After all, if you can throw a ball better than anyone you are halfway home too. But Picasso's subject was, seemingly, important; one that intellectuals were interested in. Hence if he could capture their imaginations and somehow add their imprimatur to his painting talent the world would be at his feet, where he always felt it belonged.
   Picasso hung out in Paris with many of the world's leading intellectuals. He even wrote a play called "Desire Caught By the Tail" directed by Albert Camus in which Jean Paul Sartre and Simone de Beauvoir acted. The play was about 10 pages long and nothing more than a series of bizarre scenes similar to what might have appeared in his painting. When Picasso commented about literature he said "it seems many writers want to be painters" apparently not knowing that the descriptions of visual objects in literature are often mere back drops for the infinitely larger conceptual themes with which language artists deal. He really didn't seem to understand that there was more in the world than pictures. His friend Sartre, a legitimate genius, set the record straight about the essential triviality of pictures in "What is Literature" when he said, "even when Picasso attempted to approach the real world with "Guernica" does anyone think he changed even a single mind with that painting"? And this was before the visual world was forever trivialized by, affordable travel, cameras, video cameras, TV, and film. We don't need a great painter anymore to create "The Last Supper" and by his choices tell us about the true nature of Jesus.
   It did turn out though that the tyrannical and confused little painter did have something in common with the leading existentialist avant guard intellectuals of his day, namely, they all wanted us to see the world differently. The intellectuals because the world of physics had correctly foreshadowed today's confused world of string theory and because philosophy had foreshadowed the concomitant shift from the certain, well defined world of God to the confused existential world of man. Picasso too wanted us to see the world differently not because he was a physicist or philosopher but because 1) he was so hopelessly neurotic that he did see the world differently as any sick person does and 2) he realized he had to paint differently to develop a reputation as a different and great painter. The intellectuals were happy to use Picasso because his technically ingenious but neurotically confusing paintings did help loosen our grip on old realities. Picasso in turn was happy to use their imprimatur of change to normalize his neurosis and to falsely give philosophical meaning to his immense skill at meaningless painting. That he encouraged us toward misogyny and/or other of his gruel narcissistic indulgences did not matter; it was change, and that was what the intellectuals wanted most. The public really had no idea what was going on as Picasso's legend grew and grew to newer and newer heights of irrationality. Today, Picasso's reputation seems mostly in the hands of art owners, museums, and curators all of whom profit in Picasso's on going and growing legend. This summer's hugely successful Picasso/Matisse exhibit at MOMA , for example, drew 100s of thousands of adoring fans. Curators raved at the point, counter point genius of the two artists; everyone made money, had fun, and wished they too could free their troubled souls and enlighten the world by creating great art, but not a word was ever said about the emperor having no clothes.
   Norman Mailer, who was taken seriously as the greatest living writer and thinker, is a great fan of Picasso and has written adoringly and extensively about him; so perhaps his view is worth comparing to Huffington's? He and Picasso had things in common: both were diminutive technical genius who gained public adoration and hugely deformed egos at a very early age. Mailer stabbed one of his early wives and clearly behaved a lot like Picasso, and perhaps for many of the same reasons, although he matured as he aged whereas Picasso did not. His portrait of Picasso as a young man tends to be purely forgiving. The idea that internal struggle, suffering, depression, angst, turmoil, and general soap opera leads to great, honest, revolutionary art apparently still lives in Mailer's soul. After all, what can an artist create if not the manifestation of tremendous inner turmoil and growth?
   Mailer forgives Picasso for everything because it was all to produce "great art." Sadly, the idea that the traditional, formulaic, hypocritical, country club Republican mentality would be replaced by the existential soap opera playing out in the communist souls of Picasso, Mailer, and French intellectuals seems more a joke today than anything else. So in the end, Huffington is quite right about Picasso, although she doesn't address the meaning of Picasso's art at all, except in so far as she ruthlessly cuts his foundation away.



5. Fine reading;the best biographical work on Picasso. Fair review of his multi-facetted life and personality. A portrait written with great psychological depth, flair, knowledge of the arts and fascinating insights and comments from those who knew him.
   Ariana Stassinopoulos' balanced story of both his weaknesses and strengths is a ''must read''.

1 comments about Picasso: Erotic Sketchs / Erotische Skizzen (Prestel's Erotic Sketchbook).

1. Beautifully printed and presented, a book that says "gift" for an art-loving friend who appreciates mainstream erotic art.

No comments about Picasso Museum Paris: The Masterpieces (Art & Design).

1 comments about Picasso (Library of Great Painters).

1. This book superbly portrays Picasso as a man: his joie de vivre his love of women, his love of life, his guttural grasping at the meaning of life, love and beauty in its modern, cruel guise. Throughout the author refers to to real people: people who exist - people like you, and people like me: people who go down to the mall, people who eat ham and cheese baguettes, people who delve into the deeper things.... the ntherworld of life: love: the internet: humour; bullfighting, his mother his love , his daughter.

No comments about André Breton: Surrealism and Painting.