Pablo Picasso (P)

Really I don't need to say much more than this link from the tate.


http://www.tate.org.uk/art/artists/pablo-picasso-

What a man, a man I actually fancy in his older pictures. Weird maybe for many but such character and charisma if I'd have ever met him I know I would have loved him, those eyes, his cheeky smile and energy. Plus I'd of likely been naked modelling and ready for my close up ha.

Anyway I'm daydreaming, on to the printmaker Pablo Picasso

 unprecedented variety of styles - The Suite Vollard

collaboration between Picasso and Ambroise Vollard. It consists of one hundred prints made in the period 1930-7. Of these, ninety-seven were selected by Picasso and given to Vollard in exchange for a number of his early works; the remaining three were portraits of Vollard. Picasso used a range of techniques in this series, such as etching, aquatint, drypoint, wash, burin and scraper. He depicted a variety of themes, among which the sculptor in his studio and scenes from Greek mythology, particularly relating to the Minotaur.

For me with these two images above are the difference in marks, light and dark. The Minotaur one I did look at last year and did try to re-create in mono-print, this was way back in the beginning of my college life. The sexual energy I feel Picasso gives in this scene works because of the soft marks of the women sleeping and the build up of how the beast is sitting over her. I like the shadow marks in his bum crack and the darkness behind them that brings out the goings on into the foreground. The image is squashed into the area and you can almost get a sense of tightness and weight. The top right hand corner mark looks like light coming in but it doesnt work as light and gives a unsure feel to the directional source. Again lending to the I'm unsure of what is happening here.  Its dark while being light and sensual and I think its great. 

The other one has again these cross hatch marks and for me again I enjoy the different textures he has given us. The two images seem of a different scene.

Above I believe this to be a drypoint,aquatint and etching - I only say this as a guess but the softer marks and way the shadows have been created. I remember the Aquatint to be like a wash or watercolour effect.The marks on the beast's head, tail, plant and balcony are different to them and I think etching and drypoint mix have been used because of the burin like style.

I like the harsh shadow lines here and the quickness you feel the artist has done the image in. It is almost like its a quick sketch, everyone in everyone's space but yet so light and the angles and forms are not lost.

Below are some linocut by Picasso - I enjoy the calm of these compared to the etchings above.

And then the energy of the bull fighter below

I think by leaving the gouged out areas visible in places it can really add movement and drama. 

I do like the mix of the work Picassso has given us over the years and I find comfort in the variations and styles he has created under the term print maker. He has for me shown real importance of understanding your medium and what it can do or say with regards to similar subject matters. If it doesn't work one way, maybe that isn't the only way. 

Showing progression

I like you can see how far you have taken something before its been over worked. I also like the unknown outcome that can still come from printing.  Plus the adding of colours and depth, textures and patterns.