Name of Picasso Art With Bearded Man Holding Paint Palette

Exhibition dates: third February – 26th May 2019

Curator: Dr Raphaël Bouvier

Pablo Picasso (Castilian, 1881-1973)
Yo Picasso (I Picasso)
1901
Oil on canvas
73.5 x 60cm
Private drove
© Succession Picasso / 2018, ProLitteris, Zurich

Room 1

The immature artist gazes defiantly over his shoulder at the viewer. His white shirt, painted with bold brushstrokes, glows confronting the nighttime background; in his correct hand he holds a palette with traces of paint which, together with the lively orange and yellow in his cravat and face, create marked contrasts. The aspiring creative person produced this self-portrait for his first exhibition at Ambroise Vollard's gallery in Paris. Picasso painted himself here in a mode reminiscent of Henri de Toulouse-Lautrec or Vincent van Gogh. The palette lone identifies the subject as an artist. The expressively applied colours, their brushstrokes clearly visible, behave significance: here the painter is not portrayed working, but through his work itself. The painting is a bold statement by the artist newly arrived in Paris – something that Picasso underscores with the inscription 'Yo' (Engl.: I) besides his signature in the upper left corner of the canvas. From this point on, he would sign his works simply 'Picasso' – his mother'due south surname.

And at present for something completely different…

My favourite periods of Picasso, probably because her tries to draw the feelings of the people he is portraying.

I love the paintings disrupted humanism, the monumental, twisted, isolated figures placed against a colourful, pictorially flattened, sometimes contextless footing. The spirit these paintings telephone call forth – the intense gaze in the 1901 self-portrait; the sad introspection, low of the Melancholy Women (1901); the existential themes of death, suffering and love in La Vie (Life) (1903) – show a 21 year former artist mature beyond his years, wizened in wisdom and understanding through the expiry of his sister and his friend Casagemas: "poverty, dejection, creative ache, and grief for those lost."

"In the most emotional, emotionally expressive pictures of this phase, the artist looks into the depths of human misery and relies on expressive topics such as life, love, sexuality and death." The circus and acrobat paintings proceed the theme of melancholy, disenchanted figures of the commedia dell'arte intertwined in the transformation of bodies in space (Henri Lefebvre).

Call me an former romantic, merely the attitude and the bear upon of the emaciated blind man's hand every bit he reaches for his flagon of wine totally does information technology for me in a style that the more hardhearted, primitivist paintings of his afterwards raw style never can.

Dr Marcus Bunyan

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Many thankx to the Fondation Beyeler for allowing me to publish the images in the posting. Please click on the images for a larger version of the art.

"I was a painter and became Picasso."

"The Blue Period was not a question of lite and color. It was an inner necessity to pigment similar that.

.
Pablo Picasso

At the age of just twenty, the aspiring genius Picasso (1881-1973) was already engaged in a restless search for new themes and forms of expression, which he immediately brought to perfection. One artistic revolution followed another, in a rapid succession of irresolute styles and visual worlds. The exhibition at the Fondation Beyeler places the focus on the Bluish and Rose periods (1901-1906), and thus on a central phase in Picasso's work. It also sheds fresh lite on the emergence, from 1907 onward, of Cubism, as an epochal new movement that was even so rooted in the art of the preceding catamenia.

In these poignant and magical works, realised in Spain and France, Picasso – the artist of the century – creates images that accept a universal evocative power. Matters of existential significance, such equally life, love, sexuality, fate, and death, find their embodiment in the delicate beauty of young women and men, but likewise in depictions of children and old people who conduct within them happiness and joy, accompanied by sadness.

Text from the Fondation Beyeler website [Online] Cited 19/04/2019

Unknown photographer
Pablo Picasso, Pere Mañach and Antonio Torres Fuster, Boulevard de Clichy 130, Paris
1901
Photo: © NMR-1000 Palace (Picasso-Paris National Museum) / Daniel Arnaudet

Pablo Picasso (Spanish, 1881-1973)
Buveuse d'absinthe (The Absinthe Drinker)
1901
Oil on canvas
73 10 54cm
The Land Hermitage Museum, St. Petersburg

Room two

In his early years, Picasso reused his canvases multiple times, mostly due to a lack of money. He often overpainted his own pictures or – as in Femme dans la loge and Buveuse d'absinthe – used both the front and back sides. Femme dans la loge was done at the fourth dimension of Picasso's first exhibition at Ambroise Vollard'due south gallery. While the effigy of the ageing dancer or courtesan, along with the setting, showcase a colouristic firework, the woman'due south face is carefully modelled, revealing individualised features. The work Buveuse d'absinthe, today known every bit the front end side, was created only shortly thereafter, and marks the transition from Picasso's early pictures to those of the Blue Menstruation. Here, flat, opaquely applied colours extend over big areas, with private fields of colour conspicuously delineated from one another by dark contours. The absinthe drinker sits abroad from the small tabular array, alone, her gaze blank, self-absorbed. The scene emanates an atmosphere of melancholy and other-worldliness that would later come up to typify the works of the Blue Period.

"… the images created past the young creative person are sharply dramatic. For instance, in this painting, the most striking particular is a giant right mitt of a woman, who is absorbed in her thoughts and tries to embrace and protect herself with this manus."

Pablo Picasso (Castilian, 1881-1973)
Arlequin assis (Harlequin sitting)
1901
Oil on canvas
83.2 10 61.3cm
New York, Metropolitan Museum of Art, Buy Mr. and Mrs. John L. Loeb, Gift 1960
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © The Metropolitan Museum of Art / Fine art Resource / Scala, Florence

Room two

Arlequin assis is one of the earliest Harlequin depictions in Picasso's oeuvre. In an unnaturally twisted pose, the Harlequin sits at a table and turns his head in the opposite direction to the rest of his trunk. The table bulging diagonally into the film space offers him a support on which to rest his elbow. Equally in Picasso's female portraits of 1901, here, too, the easily attract the viewer's attention due to their big size and elongated shape. Surprisingly, the Harlequin with his melancholy posture in fact bears the facial features of Pierrot. Although Picasso was perfectly familiar with the differences between Harlequin and Pierrot, he often mixed up their distinguishing features. At that fourth dimension, the two commedia dell'arte figures were office of popular culture, be information technology in magazine illustrations, the circus or in the opera.

Introduction of the exhibition

Pablo Picasso's pioneering works of the Bluish and Rose Periods, which characterise his oeuvre from 1901 to 1906, ushered in the art of the twentieth-century and at the aforementioned time constitute one of its outstanding achievements. In fact, Picasso'southward pictures from these years include some of the subtlest examples of mod painting and are now amidst the most valuable and sought-after art treasures of all.

All-encompassing presentations of these works are accordingly rare. The exhibition "The Young Picasso: Bluish and Rose Periods" at the Fondation Beyeler thus represents a milestone in the history of the museum. The show traces the unparalleled artistic development that began with the works of the early months of 1901, when Picasso was not yet xx, and continued until 1907. In the form of these six years, the young Pablo Ruiz Picasso adult his own personal style and became "Picasso," as he began to sign his works in 1901. The compelling images of the Blue and Rose Periods, characterised by a unique emotional ability and depth, show the creative person from an exceptionally sensitive side and thus offer a nuanced picture of his work and personality.

The exhibition begins with works from the early on months of 1901, created initially in Madrid and and then above all during Picasso's second stay in Paris. These exuberantly colourful paintings, which clearly exhibit the influence of Vincent van Gogh and Henri de Toulouse-Lautrec, reveal Picasso'south personal view of Paris and the elegant world of the Belle Époque. From the late summer of 1901 onward, post-obit the tragic suicide of his artist-friend Carles Casagemas, who had accompanied him during his first visit to Paris, in 1900, Picasso began work on a serial of pictures in which the colour blue became the ascendant expressive element, announcing the offset of the so-chosen Blueish Period. He created these works, pervaded by an temper of melancholy and spirituality, in the post-obit years, upward to 1904, as he moved back and forth betwixt Paris and Barcelona. They owe at least function of their inspiration to Symbolism and the atypical Mannerist style of El Greco and testify Picasso engaging with existential questions of life, love, sexuality, fate, and expiry, movingly embodied by fragile, introverted figures of all ages. The pictures of the Blue Flow are mainly concerned with marginalised victims of gild, in situations of farthermost vulnerability – beggars, people with disabilities, prostitutes, and prisoners, living in poverty and misery, whose despair is mitigated, withal, by an aura of dignity and grace. This also reflects Picasso's own precarious circumstances before his breakthrough as an artist.

His concluding relocation to Paris, in 1904, when he prepare his studio at the Bateau-Lavoir, marked the kickoff of a new phase in his life and work. It is at this point that Picasso met Fernande Olivier, his first longer-term companion and muse. The pictures gradually break free from the limited palette dominated past blue, which gives way to warmer rose and ochre tones, although the underlying mood of melancholy still persists. Picasso'southward works are increasingly populated by jugglers, performers, and acrobats, in grouping or family configurations, personifying the anti-bourgeois, bohemian life of the circus and the art world. In 1906 the artist achieved his first major commercial success, when the dealer Ambroise Vollard bought almost the entire stock of new pictures in his studio. This enabled Picasso, with Olivier, to get out Paris and spend several weeks in the Catalonian mountain village of Gósol. Under the impression of the rugged landscape and the villagers' simple fashion of life, Picasso painted mainly pictures of human figures in idyllic, primordial settings, combining classical and archaic elements.

In the autumn of 1906, subsequently his return to Paris, he spent some time arresting the impressions from his recent encounters with ancient Iberian sculpture and the visual world of Paul Gauguin, and began, in his quest for a new artistic authenticity, to formulate a Primitivist pictorial language. This establish expression in an innovative reduction and simplification of the human being effigy. In abrupt dissimilarity to the fine-limbed creatures of the circus earth, Picasso's figures from this phase are bulky and heavy, with impressive female nudes whose bodies have on almost geometric form. This new conception of the figure took a farther, radical turn in 1907, in the works that would pb – also under the growing influence of African and Oceanic art – to Picasso's revolutionary painting Les Demoiselles d'Avignon, proclaiming the advent of Cubism.

The development of the Bluish and Rose Periods makes information technology clear that the immature Picasso managed, inside just six years, to achieve a preternaturally early aesthetic perfection, incorporating artistic mannerisms and archaisms into the articulation of new principles for the delineation of the human body through deformation and deconstruction. In a process that only appears contradictory, Picasso'due south striving for new aesthetic possibilities advanced through several forms of refinement, and in a gradual emancipation from classical ideals of beauty, to the realisation of a groundbreaking form of artistic authenticity and autonomy. Cubism, in this light, no longer appears as a radical hiatus in Picasso's oeuvre, but rather as the logical extension of the creative ideas of the Blue and Rose Periods.

The exhibition at the Fondation Beyeler, which has been organised in collaboration with the Musées d'Orsay et de 50'Orangerie and the Musée national Picasso-Paris, differs from the first presentation in Paris in ane important respect: its prospective extension of the view of Picasso'due south Blueish and Rose Periods by the inclusion of the artist's get-go proto-Cubist pictures from 1907, created in the context of Les Demoiselles d'Avignon. I of the preliminary studies for the latter work, titled Femme (époque des "Demoiselles d'Avignon"), forms the spectacular starting signal of the Fondation Beyeler's extensive Picasso collection, and at the aforementioned fourth dimension marks the finale of this exhibition. Whereas the presentation in Paris supplemented the finished works with numerous preliminary studies and copious archive material, the exhibition at the Fondation Beyeler places the focus firmly on Picasso'due south painting and sculpture in the flow concerned. With some lxx-five masterpieces from renowned museums and outstanding private collections across the globe, the show presents the quintessence of Picasso'south oeuvre from 1901 to 1907, illuminating a chief phase of transition in the multifaceted work of the young artist. Many key works from this period now count among the major attractions in the collections of leading international museums. Yet, several key works are notwithstanding in private hands – a number of which are on public brandish in Riehen for the first time in many decades.

Text from the Fondation Beyeler website [Online] Cited 19/04/2019

Pablo Picasso (Spanish, 1881-1973)
Arlequin et sa compagne (Harlequin and his companion)
1901
Oil on sail
73 x 60cm
Moscow, Pushkin Country Museum of Fine Arts
© Succession Picasso / 2018, ProLitteris, Zurich

Pablo Picasso (Spanish, 1881-1973)
Casagemas dans cercueil (Casagemas in His Coffin)
1901
Oil on cardboard
72.five 10 57.8cm
Individual drove

Room 3

This impressive work was one of a series of paintings with which Picasso dealt with the tragic loss of his artist-friend Carles Casagemas, who committed suicide on 17 Feb 1901. In the vertical-format motion picture only part of the lifeless figure is depicted. The torso, diagonally stock-still into the limerick, is cropped past the bury and the motion-picture show border. Rendered in profile, the confront with its yellow-green colouration and prominent facial contours stands out against the blue-white shroud. The image represents a variation of the painting La Mort de Casagemas (below) from the same period, which is also on view in the nowadays exhibition. In it, the field of study's head has been moved close to the viewer and a huge candle emits multicoloured light. By contrast, almost of the other works in the Casagemas cycle are rendered in a range of mainly blue tones. Picasso retrospectively remarked: 'The thought that Casagemas was dead led to me painting in bluish'.

Pablo Picasso (Spanish, 1881-1973)
La Mort de Casagemas (The Death of Casagemas)
1901
Oil on wood
27 10 35cm
Musée national Picasso-Paris
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © RMN-Thou Palais (Musée national Picasso-Paris) / Mathieu Rabeau

Pablo Picasso (Spanish, 1881-1973)
Le Mort (la mise au tombeau) (Death (The Burial))
1901
Oil on canvas
© Succession Picasso / 2018, ProLitteris, Zurich

Pablo Picasso (Castilian, 1881-1973)
Courtesan with necklace of gems (Courtesan avec collier de pierres précieuses)
1901
Oil on canvas
© Succession Picasso / 2018, ProLitteris, Zurich

Pablo Picasso (Spanish, 1881-1973)
Femme en bleu (Woman in blue)
1901
Oil on canvas
133 x 100cm
Madrid, Museo Nacional Centro de Arte Reine Sofía
© Succession Picasso / 2018, ProLitteris, Zurich

Pablo Picasso (Castilian, 1881-1973)
Autoportrait (Self-portrait)
1901
Oil on canvas
81 x 60cm
Musée national Picasso-Paris
© Succession Picasso / 2018, ProLitteris, Zurich
Photograph: © RMN-Grand Palais (Musée national Picasso-Paris) / Mathieu Rabeau

Room 3

Picasso painted this self-portrait at the end of his 2d stay in Paris. Compared with the work Yo Picasso, exhibited at the Galerie Vollard in the summer of 1901, a articulate shift has taken place the following wintertime. The creative person portrays himself bearded and pale-faced, with hollow cheeks, aged and wrapped in a heavy overcoat, making his body appear like a dense mass. The imposing, self-bodacious pose of the first portrait has given way to a posture conveying uncertainty. Yet here, besides, Picasso'southward intense gaze casts its spell on the viewer. The cocky-portrait is one of Picasso's first works that emphasise the rich variety of his range of blue tones. Equally a means to express melancholy, blue pervades the entire composition, which is divided into blue-green and midnight blue fields of color. Picasso kept the painting throughout his life.

Pablo Picasso (Castilian, 1881-1973)
Femme assise au fichu (Melancholy Adult female)
1901
Oil on canvas
100 x 69.2cm
The Detroit Found of Arts, Heritance of Robert H. Tannahill
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © Bridgeman Images

Room 3

Femme assise au fichu presents a seated adult female in contour, introspectively withdrawn, her arms folded and legs crossed. Her brightly illuminated face lends her an appearance both profound and monumental. She is situated in a bare room, probably a cell in the Saint-Lazare women'southward prison in Paris, which Picasso visited several times in the fall and winter of 1901-02 to make drawings for his portraits of women. The prison also housed numerous prostitutes, many of whom suffered from sexually transmitted diseases. In paintings such as this one, Picasso found a universal means of representing the social themes of poverty, misery and isolation.

Pablo Picasso (Castilian, 1881-1973)
La Buveuse assoupie (The Drinker dozing)
1902
Oil on canvass
Kunstmuseum Bern, Stiftung Othmar Huber, Berne
© Succession Picasso/ 2018, ProLitteris, Zurich

View of the installation of the painting La Vie (1903) for the exhibition The young Picasso – Blue and Rose Periods at Fondation Beyeler, Riehen, Switzerland

Pablo Picasso (Spanish, 1881-1973)
La Vie (Life)
1903
Oil on canvas
197 10 127.3cm
The Cleveland Museum of Art, Donation Hanna Fund
© Succession Picasso / ProLitteris, Zurich 2018
Photo: © The Cleveland Museum of Art

Room 3

In La Vie, the allegorical masterpiece of the Bluish Menstruation, Picasso brings together existential themes such every bit death, suffering and love in a complication suffused with melancholy. When the then 20-one-twelvemonth-old artist began with the preparatory drawings for this monumental painting in Barcelona in May 1903, he had already been painting primarily blue pictures for over two years. Although Picasso had originally planned the work as a cocky-portrait, his deceased friend Carles Casagemas appears here once once more (and for the final time). Accompanied past a naked woman who nestles against his body, he stands in the left one-half of the picture, wearing merely a white loincloth. He points his index finger at a clad woman, who carries an infant swaddled in a cloth. Appearing in the background every bit pictures within a picture are further figures, cowering. They lend the work an boosted symbolic and enigmatic dimension.

In Picasso's most historic painting from the Blue Menstruum, however, he returns to the plight of the artist. La Vie (Life) (1903) brings us into an artist's studio. While earlier versions of the painting, locked beneath the final work and revealed past Ten-rays, show Picasso as the fundamental effigy, in the end he depicted Casagemas as his subject area. He is naked except for a loincloth as a nude woman clutches him, and the two look over at a mother and kid. Behind them sit ii canvases covered with crouching bodies.

Every element of the scene conveys vulnerability. The artist brings different facets of his troubles into a single canvas: poverty, dejection, artistic ache, and grief for those lost, similar Casagemas. Interestingly, those 10-rays have besides revealed that the painting was executed on top of an earlier work calledLast Moments, inspired by his sister's death.

Possibly, in bringing these various instances of heartbreak together, Picasso was besides in the concluding stages of processing his grief. Indeed, soon after the artist finishedLa Vie, he moved to Paris and emerged from his Blue Menses – into a palette of soft, joyful pinks. "Colours, like features, follow the changes of the emotions," Picasso later explained.

Excerpt from Alexxa Gotthardt. "The Emotional Turmoil behind Picasso'due south Blueish Menses," on the Artsy website Dec 13, 2017 [Online] Cited 19/04/2019

Pablo Picasso (Castilian, 1881-1973)
Le Repas de 50'aveugle (The Bullheaded Man's Meal)
1903
Oil on canvas
95.3 x 94.6cm
New York, The Metropolitan Museum of Art, Purchase Mr. and Mrs. Ira Haupt, Souvenir 1950
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © 2017, The Metropolitan Museum of Art / Art Resource / Scala, Florence

Room three

Painted in Barcelona in 1903, the moving picture Le Repas de l'aveugle depicts an emaciated bullheaded human being sitting earlier a frugal meal. The man'southward whole suffering is conveyed by the exaggeration of his torso with his bony shoulders, hollow-cheeked face and thin fingers. He is one of those miserable and solitary figures that appear like mod martyrs in Picasso's pictures. The depicted provisions – the bread and vino – could exist interpreted as Christian symbols. The starkly reduced range of colours and the dramatic effect of the scene created by the lite lend the paradigm a mystical quality. Here we feel the influence of El Greco's paintings and Spanish religious art of the sixteenth and seventeenth centuries.

This exhibition, the most ambitious ever staged by the Fondation Beyeler, is devoted to the paintings and sculptures of the young Pablo Picasso from the so-called Blue and Rose periods, between 1901 and 1906. For the kickoff time in Europe, the masterpieces of these crucial years, nigh of them a milestone on Picasso's path to preeminence as the twentieth century's most famous artist, are presented together, in a concentration and quality that are unparalleled. Picasso'due south pictures from this phase of artistic ferment are some of the finest and most emotionally compelling examples of modernistic painting, and are counted among the most valuable and sought-after works in the unabridged history of fine art. Information technology is unlikely that they volition be seen again in such a pick in a single place.

At the age of but xx, the rising genius Picasso (1881-1973) embarked on a quest for new themes and forms of expression, which he immediately refined to a pitch of perfection. One artistic revolution followed another, in a rapid succession of changing styles and visual worlds. The focus of the exhibition is on the Blue and Rose periods, and thus on the six years in the life of the young Picasso that tin can be considered central to his entire oeuvre, paving the way for the epochal emergence of Cubism, which developed from Picasso'southward previous work, in 1907. Here, the exhibition converges with the Fondation Beyeler'southward permanent drove, whose earliest picture by Picasso is a report, dating from this pivotal year, for the Demoiselles d'Avignon.

In the chronologically structured exhibition, Picasso's early painting career is explored through examples of his treatment of human subjects. Journeying back and forth betwixt Paris and Barcelona, he addressed the human figure in a serial of dissimilar approaches. In the phase dominated by the colour blue, from 1901, he observed the fabric deprivation and the psychological suffering of people on the margins of society, before turning – in 1905, when he had settled in Paris – to the themes of the Rose period, conferring the dignity of art on the hopes and yearnings of circus performers: jugglers, acrobats and harlequins. In his search for a new artistic authenticity, Picasso stayed for several weeks in mid-1906 in the village of Gósol, in the Spanish Pyrenees, and created a profusion of paintings and sculptures uniting classical and archaic ideals of the body. Finally, the increasing deformation and fragmentation of the effigy, apparent in the "primitivist" pictures, specially of the female nude, which were painted subsequently in Paris, heralds the emergence of the new pictorial linguistic communication of Cubism.

Press release from Fondation Beyeler website [Online] Cited xix/04/2019

Pablo Picasso (Spanish, 1881-1973)
Femme en chemise (Madeleine) (Young Woman in a Chemise (Madeleine))
1904-1905
Oil on canvas
72.7 10 60cm
London, Tate, Bequeathed by C. Frank Stoop 1933
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © Tate, London 2018

Room 4

A young woman, depicted in profile, stands isolated in an empty, dark-blue space. Her slender trunk is draped in a white blouse. Her left breast, its bend emphasised, is simultaneously concealed and revealed past the flimsily sparse cloth. The woman's pale peel and distinct facial features, too as the delicately defined contours of her trunk, prepare her autonomously from the background. The color scheme, suffused with calorie-free and depth, hints at Picasso's gradual turn to warm pink and brown tones. The identity of the model long remained unclear because Picasso had overpainted the figure of a boy here with the slender silhouette of his first muse and lover, Madeleine. The artist first met Madeleine in 1904, afterwards moving into his studio at the Bateau-Lavoir in Paris. She posed repeatedly for Picasso's paintings in the transitional phase from the Blue to the Rose Period, until the jump of 1905.

Pablo Picasso (Spanish, 1881-1973)
Fillette nue au panier de fleurs (Le panier fleuri) (Girl with a Basket of Flowers)
1905
Oil on canvas
155 x 66 cm
Individual collection, New York

The painting Fillette au panier de fleurs is surprising in many respects. Start of all, considering of the extended vertical format, which also makes the girl appear elongated. The boyish stands quite naked earlier us, with her trunk turned to the side and a serious expression on her face. A slight counter-movement is suggested in the transition from her feet to her torso. The girl'southward face is turned towards the viewer and carefully modelled in the manner of a portrait. The body, past contrast, appears somewhat withdrawn, almost unreal. The radiant red flowers in the woven basket create a strong accent against the pale skin, black hair and low-cal blue background. The fine art dealer Clovis Sagot purchased the picture from Picasso for the modest sum of seventy-v francs. It was one of the first works that the American writer and art collector Gertrude Stein caused together with her blood brother Leo, as early as 1905. The Stein siblings subsequently congenital up a pregnant Picasso collection

Pablo Picasso (Spanish, 1881-1973)
Le Marchand de gui (The Mistletoe Seller)
1902-03
Oil on Sail
55 ten 38cm
© Succession Picasso / 2018 ProLitteris, Zurich 2018

Room 5

With an compassionate middle, Picasso concentrates here on the representation of two poverty-stricken people who together get virtually their difficult, daily work – the selling of mistletoe. The wrinkled yet gentle face of the bearded old human being contrasts with the smooth, fresh, withal serious visage of the boy, for whom the companion is at once antonym and office model. While the two figures practice not await at i another, their physical closeness and the sometime human being's affectionate gesture nevertheless suggest the greatest tenderness. With the subtle play of colours, Picasso succeeds in generating a mystical atmosphere. In his dignified appearance, the mistletoe vendor with the child comes here to symbolise a life of poverty endured without resignation and at the same time the hope of happiness.

Pablo Picasso (Spanish, 1881-1973)
Tête d'un arlequin (Caput of a harlequin)
1905
Oil on canvas
xl.7 x 31.8cm
The Detroit Institute of Arts, Heritance of Robert H. Tannahill
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © Bridgeman Images

Pablo Picasso (Spanish, 1881-1973)
Femme de l'Île de Majorque (Adult female from Mallorca)
1905
Gouache and watercolour on paper-thin
67 x 51cm
Moscow, Pushkin State Museum of Fine Arts
© Succession Picasso / 2018, ProLitteris, Zurich

Pablo Picasso (Castilian, 1881-1973)
Femme à l'éventail (Woman with a fan)
1905
Oil on canvas
100.three x 81cm
Washington, National Gallery of Art, Gift of the Westward. Averell Harriman Foundation in memory of Marie Northward. Hariman
© Succession Picasso / 2018, ProLitteris, Zurich

Pablo Picasso (Castilian, 1881-1973)
Famille de saltimbanques avec united nations singe (Family of acrobats with a monkey)
1905
Oil on canvas
© Succession Picasso/2018, ProLitteris, Zurich
Photo: © Göteborg Konstmuseum

Une vie pas tout à fait en rose: A life non quite in pink

Regarding the pink period, Apollinaire preferred to telephone call it the "period of acrobats", which would exist more than accurate every bit the works are non only pink. In 1905, without actually adopting this colour, Picasso moved away from common cold nocturnal tonalities for a semblance of serenity, as if the colours corresponded indeed to a land of mind. The tones are earthy, pastels. The unit is more likely to come from the circus theme and in item from the Circus Medrano, not far from the Bateau-Lavoir, which Picasso frequents as many painters and poets of his time. It'due south less about the circus, like Seurat's, than about his backstage, like a family of acrobats with a monkey. The characters of the commedia dell'arte are intertwined, the effigy of the buffoon and the figure of the madman who will exist the bailiwick of a sculpture. This one, exposed to the Foundation, was the portrait of the poet Max Jacob, to whom Picasso and then added the cap which completed the analogy betwixt the madman and the artist. Picasso liked to exist alloyed to this strange, wandering, unattached, somewhat marginalised person who, like the artist, can afford a critical look at the world. In that location is notwithstanding a lot of blue and melancholy. The same misery permeates the scene of the couple watching an empty plate, the clumsy and lonely pink acrobat or the sickly Harlequin. No acrobatic scenes under the applause of the public. Here we find the same disenchantment. Apollinaire always speaks of "pulmonary" rose. The blue / pink partition therefore remains relative.

Extract from Geneviève Nevejan. "Picasso jeune et mélancolique," on the Choisir website 31 January 2019 [Online] Cited 19/04/2019. No longer available online

Pablo Picasso (Spanish, 1881-1973)
Acrobate et jeune arlequin (Acrobat and Immature Harlequin)
1905
Gouache on cardboard
105 x 76cm
Individual drove
© Succession Picasso / 2018, ProLitteris, Zurich

Room v

Acrobate et jeune arlequin is amid Picasso'southward almost impressive pictures from the globe of the circus. Ii performers of delicate advent sit in front of a tattered looking blue properties. On the left is an androgynous boy in Harlequin costume with a chalk-white face, gazing to the right, towards the fellow in acrobat's wear. The latter is depicted with arms clasped and eyes closed. At the transition point between the worlds of blue and pink, both the infinite and the figures seem to be in a state of transformation. Can the diamond blueprint of the Harlequin's costume and the geometric shape of the acrobat'south artillery be seen as anticipating a 'Cubification' of the body? As the beginning-always museum purchase of a work by Picasso, Acrobate et jeune arlequin was acquired for the municipal museum in Elberfeld near Wuppertal in 1911; today it is privately owned.

Pablo Picasso (Spanish, 1881-1973)
Arlequin assis sur fond rouge (Seated Harlequin on Red Groundwork)
1905
Watercolour and ink on cardboard
57.5 x 41.2cm
Staatliche Museen zu Berlin, Nationalgalerie, Museum Berggruen
© Succession Picasso / 2018 ProLitteris, Zurich 2018
Photograph: bpk / Nationalgalerie, SMB, Museum Berggruen / Jens Ziehe

Room six

Picasso never presents his Harlequins as tricksters or buffoons entertaining the audience with wild leaps, only rather as passive, melancholy figures. In Arlequin assis au fond rouge the Harlequin sits, motionless, his mouth closed. His naked, slightly splayed legs dangle from a wall. He appears blank, exposed, even though he wears a sparse, washed-out costume and a lid. Despite his conspicuously frontal pose, his gaze is not directed exactly at the viewer. Picasso aims at capturing the essence of the figure, his nifty confinement, which is farther accentuated by the vibrant, pulsating cerise background. The Harlequin figure may besides embody the artistic, sensitive creative person, who must stand his ground in mod society

Installation view of the exhibition The young Picasso – Blue and Rose Periods at Fondation Beyeler, Riehen, Switzerland showing at left, La toilette (1906) and at right, Les Deux Frères (The 2 Brothers) (1906)

Room 7

In Deux Frères a male child carries his younger brother on his back; the two appear to merge together. The elder boy'south facial features are finely modelled, whereas those of the younger one are somewhat blurred and reduced to a few shapes. Both figures are naked, and place and time are uncertain. Only the edge of the floor and night shadows signal the room in which they are located. The artist makes it seem here that the figures are made of the same material equally the infinite surrounding them. The painting was produced in Gósol, a Catalan mountain village in the eastern Pyrenees, where Picasso retreated for several weeks in the early summer of 1906. Far from urban life, he began developing a new pictorial linguistic communication characterised by simplicity and earthiness. Here, Picasso drew inspiration notably from the naked body, initially from the male and then the female one.

Pablo Picasso (Spanish, 1881-1973)
La toilette
1906
Oil on canvass
59 1/two x 39 inches (151.13 10 99.06cm)
Collection Albright-Knox Art Gallery, Buffalo, New York
Fellows for Life Fund, 1926
© Succession Picasso / 2018 ProLitteris, Zurich 2018

Room 7

In the summer of 1904 Picasso met Fernande Olivier, who would become his most important model and was also his companion until 1912. She shared with him a badly poor life at the run-downward Bateau-Lavoir studio building, in Montmartre, Paris. In 1906 she accompanied him to the Pyrenean village of Gósol in Spain. Olivier posed for Picasso, and to an extent her figure became a field for artistic experimentation. In La Toilette, Picasso's search for a new archaic formal language still manifests itself in predominantly classical figures. In a bare interior, a naked young woman stands to the left, turned towards the viewer, arranging her hair in a mirror held by a black-haired adult female dressed in bluish and seen in profile. It is possible that the depictions of both women are portraits of Olivier, highlighting different, contrasting facets of the same person.

Pablo Picasso (Castilian, 1881-1973)
Autoportrait (Self-portrait)
1906
Oil on canvas
65 10 54cm
Musée national Picasso-Paris
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © RMN-Thou Palais (Musée national Picasso-Paris) / Mathieu Rabeau

Room 8

In his early years Picasso ofttimes portrayed himself. Although not identified by obvious attributes, this epitome is also a self-portrait of the artist in which he illustrates his most recent achievements as a painter. The stocky human's solid torso, his greyish skin tone and mask-similar confront exemplify the Primitivist pictorial language that Picasso adult in 1906. The artist was seeking new ways of expression, painting almost exclusively nudes and in the process moving noticeably away from his earlier work. He was no longer interested in depicting feelings, wanting rather to experiment with new forms and render his subjects with new pictorial means. Picasso's facial features in this painting appear formulaic, stereotypical – and he has moved quite some distance from the aesthetic of the Bluish and Rose Periods.

Pablo Picasso (Spanish, 1881-1973)
Femme nue assise, les jambes croisées (Seated Female Nude with Crossed Legs)
1906
Oil on canvas

Room viii

Picasso'due south discovery of centuries-old Iberian sculpture flowed, in the autumn of 1906, into numerous female nudes in which a new, raw mode emerged. Among them is this imposing representation of a seated woman in which the artist limited himself to brown and grey tones. The schematically rendered robust torso equanimous of geometric volumes and the ossified, mask-like face with its empty eyes are typical of Picasso'due south Primitivism in this flow. Thus, the artist introduced here, within a classical picture theme, a new image of the body, aimed at reduction. This was to testify seminal for his artistic development in subsequent years culminating in the painting Les Demoiselles d'Avignon.

Pablo Picasso (Castilian, 1881-1973)
Nu sur addicted rouge (Jeune femme nue à la chevelure) (Nude on ruby-red background (Young nude adult female with pilus)
1906
Oil on canvass
81 x 54cm
Paris, Musée de l'Orangerie, Collection Jean Walter and Paul Guillaume
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © RMN-Chiliad Palais (Musée de l'Orangerie) / Hervé Lewandowski

Pablo Picasso (Castilian, 1881-1973)
Femme (Epoque des "Demoiselles d'Avignon") (Adult female ('Demoiselles d'Avignon' Catamenia))
1907
Oil on sail
119 10 93.5cm
Fondation Beyeler, Riehen / Basel
© Succession Picasso / 2018 ProLitteris, Zurich Photograph: Robert Bayer, Basel

Room 9

Femme, from 1907, also originated in the context of Picasso's seminal picture Les Demoiselles d'Avignon and is the earliest work in the all-encompassing Picasso collection assembled past Ernst and Hildy Beyeler. The sketch-like painting shows a naked female figure with raised arms, depicted in a pose that remains ambivalent. Wearing the cap of a sailor or ship'due south helm (possibly her hair is also set in a chignon), she is presented next to a yellow curtain drawn to the side and in front end of a blueish and green background. The face, whose features recall those of African masks, conspicuously reveals the slap-up influence that non-European sculpture had on Picasso in this phase of his career. Whereas the figure'south face up, arms and breasts are fully painted and bordered with articulate contours, the lower body is sketched with just a few lines. In Femme Picasso seems to be deliberately playing with an aesthetic of incompletion – yet in light of its expressive power and manner of limerick, the work is unquestionably finished.

Anonymous photographer
Pablo Picasso on Place Ravignan, Montmartre, Paris
1904
Silver gelatin impress on paper
12 x eight.9cm
Musée national Picasso-Paris

Fondation Beyeler
Beyeler Museum AG
Baselstrasse 77, CH-4125
Riehen, Switzerland

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