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In the autumn of 1907,
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a young Spanish artist showed
his Parisian friends a new painting.
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So horrified were they that he rolled
it up and hid it away for a decade.
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Indeed, it wouldn't be
properly shown until 1937.
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And yet it's a painting that
changed the course of art history.
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The artist was Pablo Picasso.
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Picasso was, like so many artists
at the beginning of the century
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an interesting mixture of many influences.
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There was a Spanish poet,
Antonio Machado, who said
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that a man's homeland is his childhood.
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Picasso's childhood is Málaga
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and his core is Málaga.
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This never left him.
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He never forgot the
light of the Mediterranean.
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He remembered the bulls that he
visited with his parents and his uncles
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here in Málaga.
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Flamenco was part of him.
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Picasso is Málagueño but
he is also from Barcelona,
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from La Coruña,
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and he is also, eventually,
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an artist that is formed in Paris
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but his homeland, his childhood, is Málaga.
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The Málaga in which Picasso was born
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was a Málaga of class struggle,
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a Málaga divided between
the upper bourgeoisie
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and the working class.
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It's a year in which Málaga's
industry is still strong
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but is falling behind
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in comparison with other industrial areas.
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Especially the north
of Spain and Barcelona.
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But Picasso's city was also the home
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of the Golden Age of Málagueña painting.
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In the city there are great painters
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sculptors, engravers
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but all local.
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Picasso, from childhood,
absorbed that environment.
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One of the most important aspects of
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Picasso's very nature
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was the capacity he had for attention
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fixation and, above all, retention.
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Although Picasso studied in depth
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the most important traditions of art
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German, Italian, French
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there was something in his work
that takes us directly to the south
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to this hybrid south, a south
in which different cultures
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have historically lived together.
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The Jew, the Arab, the Christian.
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I believe this is key to
understanding the work of Picasso
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because it has the elements
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the forms, these cultural elements
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that, distinct from their place of
origin, comprised the south of Spain.
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Here, in Málaga,
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Picasso enjoyed bullfights
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he admired doves and pigeons.
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This brought him closer to Andalucía.
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To his roots.
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To his origins.
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This is the house where
Pablo Ruiz Picasso was born
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on October 25th, 1881.
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This house had been inhabited
before the wedding of Picasso's father
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by the father and his two sisters
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but after the wedding of José Ruiz Blasco
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with María Picasso López
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the couple came to live here.
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And this is where Picasso was born.
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The family had a great
influence on Picasso.
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The character of Doña María
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the profession of Don José
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were key influences in
his life and in his work.
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Picasso grew up in a small
bourgeois family in Málaga
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where thanks to his father's
profession and his father's friends
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he came into direct contact with painting
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with drawing, with colour.
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Here he makes his first
drawings, his first paintings.
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The childhood of Pablo
Picasso was an exciting one
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because it was linked to art
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since his father was an art teacher.
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On the other hand his
childhood was full of visual stimuli.
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Málaga was a small city.
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He lived where there was
a lot of life on the streets
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and that probably affected his
way of understanding the world.
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Málaga and the presence of his father
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were the key points of his influences.
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I would say that when his father
was asking him to draw a pigeon
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or to go to a corrida with him,
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he was building his son with
very strong Spanish roots.
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We cannot neglect the fact
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that Don José is very important
for Pablo as an inspiration.
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He realised that Pablo
was more than talented
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and that this needed to be supported.
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In 1891, a few days
before his tenth birthday,
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Pablo arrived in a very
different part of Spain,
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La Coruña on the northern Atlantic coast.
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Pablo's father, José, had
secured a teaching role.
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And it was here that he really taught
his young son how to paint with oils.
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"In La Coruña, my father did not go out
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unless it was to go to the art school.
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On his return, he painted.
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But nothing more.
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The rest of the time, he looked
out the window at the falling rain
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and then, in the end, he
abandoned painting for good.
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Instead he gave me his
colours and his brushes
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and he never painted again.
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It frightened my parents that their child
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dared exhibit his work.
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Some friends chose a place,
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an umbrella shop at Calle Real number 54,
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more a junk shop selling
everything from headscarves to suits.
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In spite of my cheap
prices the sales were poor.
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I wouldn't have sold a thing
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were it not for the generosity
of my father's friends..."
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Picasso arrived in La Coruña on
October 14th, 1891 from Málaga.
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He made the trip by
boat with his whole family.
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They would stay in La Coruña
for three and a half years.
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It was a very important
period for the young Picasso
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because it was where he
started his academic training
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and where he also began
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to make his first pictures
with a completely free spirit.
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That first year Picasso was
enrolled at secondary school
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and the school of fine arts
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which was in the same
building as the secondary school.
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Picasso had as his teacher his own father
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José Ruiz Blasco, who
had taken that position
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and Picasso combined these
studies between 1892 and 1894
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but then in 1894 his father
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decided that his son end his normal studies
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to stop studying mathematics and grammar
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and to devote himself
solely to the study of art.
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At the beginning of 1895
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Pablo starts to study the natural figure
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and it was Picasso's
father who paid the models
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to pose for Picasso and his classmates.
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It was here that Picasso
made considerable advances
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because over two or three
months he made many portraits.
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These portraits were important
not just from an artistic point of view
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but from a psychological one
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because Picasso exhibited these works
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in the shop windows of the Calle Mayor
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which was common for artists at that time.
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Picasso received some
very complimentary reviews.
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Some even compared
him to Giotto and Raphael.
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These paintings, rather than
being considered works of genius
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should be seen as the works
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of a 13-year-old boy
already showing promise.
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My grandfather realised that the
artistic scene was in Barcelona.
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Of course, he was very
young: 13, 14 years old.
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And there is a part of luck in his life
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because when his father
was appointed in La Coruña,
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was offered to make a switch
with someone in Barcelona,
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it was just luck
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because Pablo was going to be
part of the artistic scene of Spain
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and from Barcelona everything was possible.
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When one looks at Picasso's work
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one always sees the desire to rebel
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of not wanting to do what
others told him to do as an artist.
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This is evident from the beginning
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when, as a child he did
things that adults usually do
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and later, as an adult
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he did things that children do.
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We are talking about an artist
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who can be described as a great rebel
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against the artistic academy
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against conventions
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against stereotypes
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against the authority of others.
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Very shortly after arriving in Barcelona
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Picasso was enrolled
in the Llotja art school.
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The training was very old-fashioned.
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The young students did not like it
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because the academy was
basically repetition and copying.
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Picasso was very reluctant
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to follow this training.
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But there is the great paradox
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that the academic training
that Picasso received
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in La Coruña, in Barcelona
and later in Madrid
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was decisive for his training as an artist.
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Picasso is an artist
who throughout his life
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will want to break the rules
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and transgress from all the teaching
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he had received in his training.
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Despite this he is an artist who has
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a very solid, very sound base.
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A base that allowed him later to develop
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in a more profound way as an artist.
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The Picasso who arrived in Barcelona
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at just 13 years of age
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was no more than a student of fine arts.
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He was not yet the genius he was to become.
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Nor did he pass through Barcelona
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as a great artist
recognised by all the world.
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The Picasso that was in
Barcelona was an artist still evolving.
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Very eclectic in the sense that he fed on
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different influences that came from outside
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but he had not yet defined his own style.
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But in the meantime,
he was being influenced
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from all directions.
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I think that the Barcelona period
was important for two reasons.
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The first, something more academic.
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On the other side you
have the people of Barcelona
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and those exotic subjects
like prostitutes or local people.
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I think that Pablo in Barcelona
discovered how wide was the scope
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to see through the people.
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Of course, Barcelona was
offering a lot of inspiration.
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The theme of this painting is a theme
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that was really in vogue
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in the late 19th century.
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The subject of medicine,
of scientific advances
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and in particular hospital medicine.
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The young Picasso
chose a fashionable subject
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that he knew would be
successful in a national exhibition.
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The format was also
important for a national contest.
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The entrants
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looked for themes that were in vogue
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but also they had to be large-scale
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which featured one or several characters.
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The more complex, the more
the artist could demonstrate
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their abilities and training.
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For example he included hands
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which always proved
difficult for an artist.
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In 1896 and 1897 Picasso was
making many studies of hands
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in the sketchbooks that
he carried in his pockets.
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He was becoming trained in all subjects
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not only in depicting clothes
or making compositions
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but also showing the hands
and features of the subjects.
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It could be said that this was the pinnacle
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of his academic training
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where he was still following a
path closely supervised by his father.
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His father was the one who had organised
his professional career until now.
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At this moment Picasso is tired
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like any young man of his age
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he wanted to do things in a different way
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00:23:31,524 --> 00:23:34,284
and these national
competitions, these subjects
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no longer interested him.
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But it had been his father
overseeing his career
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and who surely posed here as the doctor.
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This painting must have
been a challenge because
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we do not know the exact dimensions
of the studio where he painted it
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but clearly it was a small space.
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It was a challenge for an artist
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who was physically short
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who was young
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00:24:06,204 --> 00:24:07,924
and not very experienced
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to paint a work of this great size
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in a space that did not
allow him a great perspective.
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00:24:15,444 --> 00:24:18,044
And some of the drawing
faults that are evident in this work
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could come from the lack of perspective
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not being far enough away from the work.
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He received criticism
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00:24:26,724 --> 00:24:29,164
some quite harsh, a bit sarcastic.
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In particular he was criticised
for the hand of the patient.
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But without a doubt
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Picasso, at the age he was then
255
00:24:39,084 --> 00:24:40,644
was well-received.
256
00:24:41,244 --> 00:24:42,724
They saw his potential.
257
00:24:58,724 --> 00:25:01,644
His father and uncle saw his potential too
258
00:25:01,724 --> 00:25:03,724
and paid for him to go to Madrid,
259
00:25:03,804 --> 00:25:07,764
to study at the prestigious San
Fernando Royal Academy of Fine Arts.
260
00:25:16,164 --> 00:25:19,284
The academic environment
and living alone in the city
261
00:25:19,364 --> 00:25:20,644
did not appeal
262
00:25:20,724 --> 00:25:25,204
but what did catch Picasso's
attention was the Prado Museum
263
00:25:25,284 --> 00:25:28,364
and the glories of
Spanish art that lay within.
264
00:25:29,244 --> 00:25:33,564
Velázquez, Goya, even El Greco and more.
265
00:25:40,604 --> 00:25:42,604
But by the summer of the following year
266
00:25:42,684 --> 00:25:47,164
he was back in Barcelona and
as likely to be in a bar as a gallery.
267
00:25:54,924 --> 00:25:56,244
When Picasso begins to move
268
00:25:56,324 --> 00:25:58,284
in the alternative world
269
00:25:58,364 --> 00:26:01,844
in the bars and cafés of Barcelona
270
00:26:01,924 --> 00:26:05,844
he initially relates to
a generation of artists
271
00:26:05,924 --> 00:26:07,684
young artists who have not yet acquired
272
00:26:07,764 --> 00:26:10,204
an important status in the artistic world.
273
00:26:11,884 --> 00:26:14,164
Picasso is a young artist
274
00:26:14,244 --> 00:26:18,284
who is still trying to
navigate the artistic world.
275
00:26:18,844 --> 00:26:20,564
There were different tables
276
00:26:20,644 --> 00:26:23,804
and it's obvious that at this stage
277
00:26:23,884 --> 00:26:29,084
he is placed among
the less relevant artists.
278
00:26:29,164 --> 00:26:31,124
But little by little
279
00:26:31,204 --> 00:26:35,044
he will form bonds with the
great figures of Catalan art
280
00:26:35,124 --> 00:26:37,564
who are the artists that, to begin with,
281
00:26:37,644 --> 00:26:39,484
do not have contact with Picasso.
282
00:26:40,724 --> 00:26:46,564
He as a teenager gets very much
involved with a group of artists
283
00:26:46,684 --> 00:26:49,724
around the café of Els Quatre Gats
284
00:26:50,724 --> 00:26:53,124
who were politically involved
285
00:26:53,204 --> 00:26:57,844
because they were sympathisers of anarchism
286
00:26:57,924 --> 00:27:00,204
and Catalan nationalism.
287
00:27:01,244 --> 00:27:03,204
He must have been stricken
288
00:27:03,284 --> 00:27:08,204
by this very lively
community of young artists.
289
00:27:13,804 --> 00:27:17,724
In February 1900, Pablo
Picasso made a breakthrough.
290
00:27:18,364 --> 00:27:21,444
In the back dining room
of the café Els Quatre Gats,
291
00:27:21,524 --> 00:27:23,324
he held his first exhibition.
292
00:27:24,964 --> 00:27:27,604
The dozens of portraits
hung in lines around the room
293
00:27:27,684 --> 00:27:29,684
caught the attention and admiration
294
00:27:29,764 --> 00:27:32,684
of the leading Catalan and
modernist artists of the day.
295
00:27:37,644 --> 00:27:40,324
When he starts to frequent Quatre Gats
296
00:27:40,444 --> 00:27:45,044
Picasso met Ramon
Casas and Santiago Rusiñol.
297
00:27:48,804 --> 00:27:51,804
They were not only
going to influence his art
298
00:27:52,484 --> 00:27:55,964
but they would also raise the
question of what is an artist?
299
00:27:58,084 --> 00:28:00,444
Casas and Rusiñol had
gone to Paris very young.
300
00:28:00,524 --> 00:28:02,524
They had lived the bohemian life.
301
00:28:02,604 --> 00:28:04,884
They had taken morphine.
302
00:28:04,964 --> 00:28:07,804
They were very different
in character to his father
303
00:28:07,884 --> 00:28:09,604
who was very conventional.
304
00:28:13,084 --> 00:28:18,204
So Picasso, at this moment
started thinking about Paris.
305
00:28:19,164 --> 00:28:22,284
It was in Barcelona that he changed
306
00:28:22,364 --> 00:28:25,484
after listening to his older companions
307
00:28:25,564 --> 00:28:28,764
tell him about all of the wonders of Paris.
308
00:29:01,484 --> 00:29:05,284
We have this wonderful
portrait from the year 1900
309
00:29:05,364 --> 00:29:07,804
which is when Picasso
was occupying the studio
310
00:29:07,884 --> 00:29:10,004
in Calle Riera de Sant Joan
311
00:29:10,084 --> 00:29:12,084
with his friend Casagemas.
312
00:29:17,084 --> 00:29:19,604
In this work we can see that Picasso
313
00:29:19,684 --> 00:29:21,924
had already completely changed his style
314
00:29:22,004 --> 00:29:24,684
from what he had been doing before.
315
00:29:26,364 --> 00:29:30,004
His sister Lola had been
one of his first models.
316
00:29:30,964 --> 00:29:32,564
This work is very odd
317
00:29:32,644 --> 00:29:35,804
because we see that
Lola appears without a face
318
00:29:35,884 --> 00:29:38,124
but it is an optical effect.
319
00:29:38,204 --> 00:29:42,524
If we open a window and
the sun shines through
320
00:29:42,604 --> 00:29:46,204
into a dimly lit room our
features are not visible.
321
00:29:47,284 --> 00:29:50,284
Since Picasso is
essentially a realist painter
322
00:29:50,364 --> 00:29:53,364
he was depicting it as he saw it.
323
00:29:56,364 --> 00:29:58,284
The most important thing about this work
324
00:29:58,364 --> 00:30:02,244
is that it is one of the few pictures
of Picasso's Barcelona studios.
325
00:30:02,324 --> 00:30:05,244
Picasso had many studios in Barcelona
326
00:30:05,324 --> 00:30:08,084
and we see representations from the windows
327
00:30:08,164 --> 00:30:14,164
and from the terraces
of these studio exteriors.
328
00:30:16,804 --> 00:30:19,644
The urban landscapes,
the roofs of Barcelona
329
00:30:19,724 --> 00:30:22,764
are always depicted from
the windows of these studios.
330
00:30:23,684 --> 00:30:25,324
But this is one of the few
331
00:30:25,444 --> 00:30:28,844
that represents the
interior of Picasso's studio
332
00:30:30,084 --> 00:30:31,764
and we see on the floor
333
00:30:31,844 --> 00:30:34,564
a set of squashed paint tubes
334
00:30:34,644 --> 00:30:39,844
that indicates that this was his studio.
335
00:30:43,124 --> 00:30:46,684
In 1900 when he painted this
portrait he was 18 years old.
336
00:30:46,764 --> 00:30:52,324
So he was a teenager who
was opening up to the world.
337
00:30:53,564 --> 00:30:54,884
This search for colour.
338
00:30:54,964 --> 00:30:56,284
This search for freedom.
339
00:30:56,364 --> 00:30:58,924
This search for the explosion of life.
340
00:31:06,964 --> 00:31:10,644
Picasso forged his
artistic identity in Barcelona
341
00:31:11,364 --> 00:31:13,644
and met a lot of artists
342
00:31:13,724 --> 00:31:15,604
poets, critics
343
00:31:15,684 --> 00:31:17,844
and read many magazines.
344
00:31:18,324 --> 00:31:20,564
His eye is formed in Barcelona,
345
00:31:20,644 --> 00:31:23,604
in a Barcelona that is
already very open to Europe
346
00:31:23,684 --> 00:31:25,364
and very open towards Paris.
347
00:31:26,604 --> 00:31:31,284
Picasso first went to
Paris in the autumn of 1900
348
00:31:31,364 --> 00:31:33,364
because one of his paintings
349
00:31:33,484 --> 00:31:38,524
had been accepted at the
Universal Exhibition of that year,
350
00:31:38,604 --> 00:31:42,164
which was the largest ever organised.
351
00:31:42,964 --> 00:31:45,484
It was, of course, a
huge opportunity for him
352
00:31:45,564 --> 00:31:51,164
to finally experience the big
city everybody was talking about.
353
00:31:58,284 --> 00:32:02,084
"Pablo and I go to
café-concerts or the theatre.
354
00:32:02,964 --> 00:32:05,004
They think they're doing Spanish dances...
355
00:32:05,084 --> 00:32:07,444
Olé, olé, caramba, caramba
356
00:32:07,524 --> 00:32:10,244
which left us in doubt about our origins.
357
00:32:11,924 --> 00:32:15,004
The Boulevard de Clichy
is full of crazy places.
358
00:32:15,084 --> 00:32:20,364
Everything is fanfare, tinsel and
papier-mâché stuffed with sawdust.
359
00:32:21,364 --> 00:32:23,604
Tell our friends to come to Paris.
360
00:32:23,684 --> 00:32:27,044
Because there's room for everybody
and money for anyone who works.
361
00:32:27,124 --> 00:32:30,844
Rob, kill, assassinate,
do anything to come."
362
00:32:31,724 --> 00:32:33,484
Carles Casagemas.
363
00:32:35,884 --> 00:32:39,084
In 1900, he made his
first trip to France, to Paris.
364
00:32:39,924 --> 00:32:42,564
He will make many trips
between 1900 and 1904
365
00:32:42,644 --> 00:32:46,724
before settling
permanently in Paris in 1904.
366
00:32:48,004 --> 00:32:50,724
Montmartre was a kind of Spanish colony.
367
00:32:50,804 --> 00:32:53,044
There were many Spanish artists in Paris.
368
00:32:54,044 --> 00:32:58,644
Picasso indeed thought of
himself as a Spanish exile in Paris
369
00:32:59,444 --> 00:33:03,084
so there is a double culture
that resides in Picasso.
370
00:33:03,164 --> 00:33:05,084
He will always remain Spanish.
371
00:33:05,164 --> 00:33:09,844
At the same time he
consumed not only Parisian art
372
00:33:09,924 --> 00:33:12,764
but the entire production
of the avant-garde
373
00:33:12,844 --> 00:33:15,244
taking place in the French capital.
374
00:33:17,044 --> 00:33:20,244
Pablo was born in a very comfortable life.
375
00:33:20,324 --> 00:33:23,164
With his family, he
was a little king at home.
376
00:33:23,244 --> 00:33:26,284
When he came to Paris
he had to face a different life.
377
00:33:26,364 --> 00:33:29,604
He had to struggle to have food,
378
00:33:29,684 --> 00:33:31,844
to live in a very cold place in the winter,
379
00:33:31,924 --> 00:33:33,124
very hot in the summer.
380
00:33:33,204 --> 00:33:37,324
I think that this shows his determination.
381
00:33:38,084 --> 00:33:41,764
We see that Pablo was ready
to experience all the difficulties.
382
00:33:41,844 --> 00:33:44,484
And he did. It was not a problem for him.
383
00:33:45,924 --> 00:33:47,724
This is the first time he leaves Spain.
384
00:33:47,804 --> 00:33:50,364
It's a real adventure.
385
00:33:51,564 --> 00:33:54,124
He's with other artists
386
00:33:54,204 --> 00:33:56,684
but he is effectively now free.
387
00:33:57,844 --> 00:34:01,644
This is Picasso's overwhelming
feeling in the early years.
388
00:34:02,164 --> 00:34:07,084
The freedom with his time.
389
00:34:08,604 --> 00:34:10,204
To be curious about whatever he likes
390
00:34:10,284 --> 00:34:13,324
outside the shackles of
the Academy of Fine Arts.
391
00:34:13,924 --> 00:34:15,924
Now he can focus on everyday subjects
392
00:34:16,004 --> 00:34:19,564
the street, the cabaret, beggars.
393
00:34:22,564 --> 00:34:25,083
When he arrives in Paris
he can't speak French
394
00:34:25,564 --> 00:34:28,724
so he hangs out with
his Spanish compatriots.
395
00:34:28,804 --> 00:34:32,683
And in this period he starts to sign
his notebooks with "Yo, Picasso"
396
00:34:32,764 --> 00:34:34,123
"I, Picasso".
397
00:34:35,004 --> 00:34:37,844
It's already a statement.
398
00:34:38,924 --> 00:34:43,524
He is abandoning his father's
name abandoning the name of 'Ruiz'
399
00:34:43,603 --> 00:34:45,444
and taking the name of his mother
400
00:34:45,524 --> 00:34:49,683
which is less Spanish,
being Italian in origin.
401
00:34:50,524 --> 00:34:54,163
He now has this new identity as 'Picasso'
402
00:34:54,244 --> 00:34:59,484
someone ready to conquer
the Parisian art scene.
403
00:35:03,844 --> 00:35:06,284
"We've already launched into work.
404
00:35:06,364 --> 00:35:09,924
Tomorrow we'll light the heater
and we'll have to work furiously.
405
00:35:10,644 --> 00:35:11,884
Whenever there is daylight
406
00:35:11,964 --> 00:35:14,724
we are in the studio painting and drawing.
407
00:35:19,964 --> 00:35:22,284
We all got together at Petit Poucet
408
00:35:22,364 --> 00:35:24,244
and we all got drunk.
409
00:35:25,204 --> 00:35:27,884
Utrillo wrote nursery rhymes,
410
00:35:27,964 --> 00:35:30,444
Peio sang bawdy songs in Latin,
411
00:35:31,164 --> 00:35:35,884
Picasso made sketches of
people, and I wrote verses."
412
00:35:35,964 --> 00:35:38,084
Carles Casagemas.
413
00:35:40,764 --> 00:35:43,964
"Picasso had a top hat
which was magnificent;
414
00:35:44,044 --> 00:35:47,204
for although he always
had a taste for cheap clothes,
415
00:35:47,284 --> 00:35:49,164
which he bought in workmen's stores,
416
00:35:49,244 --> 00:35:52,124
this was the last touch of refinement:
417
00:35:53,044 --> 00:35:57,284
he is very fastidious and
matches his underpants to his socks
418
00:35:57,364 --> 00:36:00,004
with as much love as he makes a painting.
419
00:36:00,964 --> 00:36:06,724
Everyone recognised that he had a
fire, a real brilliance, a painter's eye.
420
00:36:07,484 --> 00:36:11,884
I spent the day looking at piles
and piles of Picasso's paintings!
421
00:36:12,764 --> 00:36:16,164
He was making one or two each day or night,
422
00:36:16,244 --> 00:36:20,524
and selling them for 150
francs on the Rue Laffitte."
423
00:36:20,604 --> 00:36:22,964
Max Jacob, poet and critic.
424
00:36:24,084 --> 00:36:27,004
You have to consider that
Paris was an exciting place
425
00:36:27,084 --> 00:36:29,564
not only because of
the Universal Exhibition
426
00:36:29,644 --> 00:36:32,164
and the architecture of Paris.
427
00:36:32,244 --> 00:36:34,564
The Eiffel Tower, it was a dream.
428
00:36:34,644 --> 00:36:38,004
It was also important because
it was attracting a crowd
429
00:36:38,084 --> 00:36:39,924
coming from all over the world.
430
00:36:40,724 --> 00:36:46,564
What happened in Paris was that
these references were multiplied.
431
00:36:46,644 --> 00:36:48,884
From a visual point of view
432
00:36:48,964 --> 00:36:51,844
Picasso was strongly impacted.
433
00:36:52,524 --> 00:36:55,804
He was impacted by posters on the streets
434
00:36:55,884 --> 00:36:57,844
by the galleries he could visit
435
00:36:57,924 --> 00:37:00,164
many more than in Barcelona.
436
00:37:01,004 --> 00:37:04,564
Here he could see the
works of the artists he admired
437
00:37:04,644 --> 00:37:06,804
directly on gallery walls.
438
00:37:08,284 --> 00:37:09,364
For example
439
00:37:09,484 --> 00:37:13,604
the greatest influence
on him in Paris in 1900
440
00:37:13,684 --> 00:37:15,524
was Toulouse-Lautrec
441
00:37:15,604 --> 00:37:19,124
because he could go to Moulin
Rouge or Moulin de la Galette.
442
00:37:19,724 --> 00:37:22,284
These were spaces that previously he knew
443
00:37:22,364 --> 00:37:25,004
only through publications
444
00:37:25,084 --> 00:37:27,644
or through the
testimonies of other artists.
445
00:37:30,044 --> 00:37:33,244
Therefore the Picasso who went to Paris
446
00:37:33,324 --> 00:37:36,604
was an artist who changes completely.
447
00:37:44,364 --> 00:37:47,844
"If you were to see us
you wouldn't recognise us
448
00:37:47,924 --> 00:37:50,764
because we've finally
become such hard workers.
449
00:37:51,764 --> 00:37:55,524
All this about women must seem
to take all our strength, but no!
450
00:37:55,604 --> 00:37:58,804
Not only do we spend our lives 'fondling',
451
00:37:58,884 --> 00:38:01,244
but I've almost finished a painting
452
00:38:01,324 --> 00:38:04,244
and, to be frank, I think
I've just about sold it.
453
00:38:04,964 --> 00:38:08,484
Because of this, we are saying
goodbye to the bachelor life.
454
00:38:09,044 --> 00:38:13,804
As of today we are going to bed at
ten and we're not going out anymore."
455
00:38:15,444 --> 00:38:16,644
Pablo Picasso.
456
00:38:19,844 --> 00:38:24,924
The nightlife was much
more exciting than Barcelona.
457
00:38:25,004 --> 00:38:29,924
Reviews, music halls,
cabarets, Pigalle, Moulin Rouge.
458
00:38:31,004 --> 00:38:33,604
You can see it in the artworks.
459
00:38:33,684 --> 00:38:38,444
Pablo moved from the individual
human figures of poor people,
460
00:38:38,524 --> 00:38:39,764
of prostitutes,
461
00:38:39,844 --> 00:38:44,484
to a crowd of rich people enjoying
themselves, spending money
462
00:38:44,564 --> 00:38:47,044
with beautiful women, beautiful dresses.
463
00:38:47,644 --> 00:38:49,644
This is Paris in the 1900s.
464
00:38:49,724 --> 00:38:54,124
I can understand that Pablo would
have walked to Paris to see that.
465
00:38:54,724 --> 00:38:57,644
And there were rumours
that in Paris, in Montmartre,
466
00:38:57,724 --> 00:39:01,084
collectors and art dealers
were attracted by new artists
467
00:39:01,164 --> 00:39:03,924
and new forms of creation.
468
00:39:13,644 --> 00:39:17,364
"Picasso is very young, 19 years old,
469
00:39:17,484 --> 00:39:21,124
and at his age, I doubt if there are
many who have done what he has.
470
00:39:22,004 --> 00:39:27,644
He has very great qualities
but also great defects."
471
00:39:28,604 --> 00:39:30,844
Pere Coll, journalist & critic.
472
00:39:32,764 --> 00:39:35,764
"I can imagine the reaction
of the illustrious bourgeois
473
00:39:35,844 --> 00:39:40,964
upon seeing my exhibition but that
ought to be as important to us as applause,
474
00:39:41,044 --> 00:39:43,484
that is to say, as you already know:
475
00:39:43,564 --> 00:39:46,724
if the wise man doesn't approve, bad;
476
00:39:46,804 --> 00:39:49,724
if the simpleton applauds, worse.
477
00:39:49,804 --> 00:39:51,204
So I'm content."
478
00:39:51,924 --> 00:39:53,324
Pablo Picasso.
479
00:39:56,804 --> 00:39:59,044
"This very young Spanish painter,
480
00:39:59,124 --> 00:40:01,324
who has only recently come among us,
481
00:40:01,444 --> 00:40:04,244
is a passionate lover of modern life.
482
00:40:05,284 --> 00:40:08,844
We think of him as a
lively, inquisitive person,
483
00:40:08,924 --> 00:40:12,564
a keen observer of street
scenes and human adventures.
484
00:40:14,724 --> 00:40:16,924
After a brief glance at his work
485
00:40:17,004 --> 00:40:21,564
we are bound to imagine him
covering the canvas in furious haste,
486
00:40:21,644 --> 00:40:26,844
impatient that he cannot wield the
large, colour-laden brushes faster.
487
00:40:28,164 --> 00:40:31,924
Here we have a new
harmonist of bright tonalities,
488
00:40:32,004 --> 00:40:36,324
with dazzling tones of
red, yellow, green and blue.
489
00:40:37,164 --> 00:40:38,724
We realise at once
490
00:40:38,804 --> 00:40:43,764
that Pablo Ruiz Picasso wants
to see and express everything."
491
00:40:44,964 --> 00:40:47,004
Gustave Coquiot, critic.
492
00:41:00,644 --> 00:41:03,044
At the Picasso Museum in Barcelona
493
00:41:03,124 --> 00:41:06,364
we can clearly see Picasso's evolution.
494
00:41:07,244 --> 00:41:12,604
We can also see the leap
that he made in Paris in 1900.
495
00:41:14,084 --> 00:41:17,524
Picasso made his first trip
with his friend Casagemas
496
00:41:17,604 --> 00:41:22,924
and later Pallarés and
Casas in September 1900
497
00:41:23,004 --> 00:41:24,684
and they stayed four months.
498
00:41:25,364 --> 00:41:28,204
Here Picasso would discover, first-hand
499
00:41:28,284 --> 00:41:30,924
impressionist and
post-impressionist painting.
500
00:41:31,004 --> 00:41:32,964
This greatly influenced his art.
501
00:41:33,724 --> 00:41:37,244
Then Picasso went back
to Spain for a few months
502
00:41:37,324 --> 00:41:40,244
before returning in May 1901
503
00:41:40,324 --> 00:41:44,124
for his first exhibition
in the French capital.
504
00:41:45,364 --> 00:41:48,204
The exhibition was organised by Pere Mañach
505
00:41:48,284 --> 00:41:53,724
a young Catalan art dealer
who Picasso met in Paris in 1900
506
00:41:53,804 --> 00:41:58,084
and who had organised this
exhibition at the Vollard Gallery
507
00:41:58,164 --> 00:42:01,524
along with another
Spaniard, Francisco Iturrino.
508
00:42:02,724 --> 00:42:04,724
When Picasso arrived in Paris
509
00:42:04,804 --> 00:42:07,124
he brought artworks with him
510
00:42:07,204 --> 00:42:12,724
quite colourful but largely Spanish themes
511
00:42:12,804 --> 00:42:16,364
but he needed to make much more work.
512
00:42:16,484 --> 00:42:19,364
He had to produce about 60 paintings
513
00:42:19,484 --> 00:42:20,964
in just 15 days.
514
00:42:21,804 --> 00:42:27,644
Picasso had no money to buy canvases
515
00:42:27,724 --> 00:42:31,964
because canvas is expensive
and it takes time to dry.
516
00:42:32,044 --> 00:42:33,924
So he used cardboard
517
00:42:34,004 --> 00:42:36,764
as it was very cheap and dried fast.
518
00:42:38,364 --> 00:42:40,924
So in the Vollard exhibition
519
00:42:41,004 --> 00:42:44,604
many of his masterpieces
were painted on cardboard
520
00:42:45,124 --> 00:42:48,964
such as this one called Margot, Waiting.
521
00:42:49,044 --> 00:42:52,124
This is a very important work
because we see how Picasso
522
00:42:52,204 --> 00:42:55,324
had already absorbed
all the artistic styles
523
00:42:55,444 --> 00:42:58,324
that had been developed
a few years before in Paris.
524
00:42:58,444 --> 00:43:02,924
For example we see that he mimics
Toulouse-Lautrec's subject matter
525
00:43:04,324 --> 00:43:06,444
and Van Gogh's brushstrokes.
526
00:43:06,524 --> 00:43:09,524
That thick, short brushstroke of Van Gogh.
527
00:43:10,164 --> 00:43:14,524
He also used the colours
of the other impressionists.
528
00:43:15,564 --> 00:43:17,164
We see this set of influences
529
00:43:17,244 --> 00:43:21,364
that Picasso absorbed
to then make his own art.
530
00:43:23,004 --> 00:43:25,964
He is someone who is constantly absorbing
531
00:43:26,044 --> 00:43:27,124
who is very curious
532
00:43:27,204 --> 00:43:29,684
and integrates what he sees
directly into his own work.
533
00:43:31,444 --> 00:43:33,924
He works non-stop
534
00:43:34,004 --> 00:43:36,844
despite his financial difficulties.
535
00:43:38,004 --> 00:43:40,204
We know he sells for very little
536
00:43:40,284 --> 00:43:43,004
a few drawings to an
innkeeper in Montmartre
537
00:43:43,084 --> 00:43:45,644
so that he has enough
money to be able to continue.
538
00:43:46,364 --> 00:43:49,724
We have to imagine
Picasso arriving in Paris
539
00:43:49,804 --> 00:43:53,644
rather poor, as a 19-year-old
540
00:43:53,724 --> 00:43:56,804
and installing himself in a friend's studio
541
00:43:56,884 --> 00:43:59,724
with his friend Carles Casagemas
542
00:43:59,804 --> 00:44:02,524
and it was an intense experience.
543
00:44:02,604 --> 00:44:07,284
Because you had to rely
on a network just for survival.
544
00:44:07,364 --> 00:44:11,604
This is perhaps what makes the
experience of these young modern artists
545
00:44:11,684 --> 00:44:15,484
so special because they
created very strong bonds.
546
00:44:26,564 --> 00:44:27,684
When they came to Paris
547
00:44:27,764 --> 00:44:32,724
there was a big excitement
visiting a new place with new girls,
548
00:44:32,804 --> 00:44:35,284
with a world of entertainment in fact.
549
00:44:35,964 --> 00:44:40,084
But Casagemas had a
natural problem of impotence
550
00:44:41,684 --> 00:44:44,324
so his attraction to women was limited.
551
00:44:44,444 --> 00:44:47,324
Of course, Pablo didn't
have the same problem.
552
00:44:48,444 --> 00:44:51,244
They meet this girl, Germaine.
553
00:44:51,324 --> 00:44:55,124
Casagemas is in love with
her and Pablo is getting her.
554
00:44:55,844 --> 00:44:58,604
And, of course, Casagemas was devastated.
555
00:45:09,764 --> 00:45:12,764
When we think about the
drama of the death of Casagemas,
556
00:45:12,844 --> 00:45:14,884
you have to understand the circumstances.
557
00:45:18,964 --> 00:45:22,604
It was in a café, Germaine
was seated with friends
558
00:45:22,684 --> 00:45:26,084
and suddenly Casagemas came to her.
559
00:45:27,444 --> 00:45:28,604
He had a revolver
560
00:45:29,684 --> 00:45:31,484
and told her, "This is for you,"
561
00:45:32,324 --> 00:45:33,964
and he shot at her.
562
00:45:34,044 --> 00:45:35,604
But he missed her.
563
00:45:35,684 --> 00:45:39,604
He didn't realise because
she fainted and fell on the floor.
564
00:45:41,004 --> 00:45:42,884
Then he said, "This is for me,"
565
00:45:42,964 --> 00:45:44,724
and he killed himself.
566
00:45:50,724 --> 00:45:53,164
When you imagine that Pablo wasn't there,
567
00:45:53,244 --> 00:45:55,124
it's extremely painful to imagine,
568
00:45:55,204 --> 00:45:59,284
but he had to face the death of his friend
569
00:45:59,364 --> 00:46:02,724
and to think that he was
maybe the reason of his death.
570
00:46:03,524 --> 00:46:08,524
So the Blue Period was
fuelled with this tragic moment.
571
00:46:09,364 --> 00:46:12,484
I think that for Pablo it was a struggle
572
00:46:12,564 --> 00:46:15,964
to try to survive the death of his friend.
573
00:46:16,484 --> 00:46:20,644
The one he came to Paris with
and the one who never came back.
574
00:46:44,124 --> 00:46:47,444
"It was while thinking
that Casagemas was dead
575
00:46:47,524 --> 00:46:49,724
that began me painting in blue.
576
00:46:57,524 --> 00:47:00,084
I'm showing what I'm
doing to the artists here
577
00:47:00,164 --> 00:47:02,724
but they think there is
too much soul and no form.
578
00:47:02,804 --> 00:47:04,324
It's very funny.
579
00:47:04,444 --> 00:47:07,084
You know how to talk to people like that;
580
00:47:07,164 --> 00:47:12,124
but they write very bad books
and they paint idiotic pictures.
581
00:47:13,204 --> 00:47:14,524
That's life."
582
00:47:15,884 --> 00:47:17,524
Pablo Picasso.
583
00:48:13,484 --> 00:48:15,364
The reason why Picasso
584
00:48:15,484 --> 00:48:18,044
creates the Blue Period at this time
585
00:48:18,124 --> 00:48:21,924
is that he is searching
for his artistic identity.
586
00:48:23,084 --> 00:48:25,884
He's looking for what
he has to say as an artist
587
00:48:25,964 --> 00:48:28,804
and this very monochrome
treatment of the Blue Period
588
00:48:28,884 --> 00:48:33,804
is one of the first manifestations
of Picasso's artistic identity.
589
00:48:37,884 --> 00:48:40,564
What was known as the Blue Period
590
00:48:40,644 --> 00:48:45,844
began in Paris at the end of 1901
591
00:48:45,924 --> 00:48:50,204
but actually took place in
Barcelona over the following years
592
00:48:50,924 --> 00:48:54,524
with scenes from the centre of Barcelona
593
00:48:54,604 --> 00:48:57,324
where many of the people we see
594
00:48:57,444 --> 00:48:59,924
in Picasso's paintings appear.
595
00:49:01,964 --> 00:49:03,964
It is a city that created
596
00:49:04,044 --> 00:49:05,844
like all large industrial cities
597
00:49:05,924 --> 00:49:09,484
large pockets of marginalisation.
598
00:49:11,044 --> 00:49:12,124
There is an emergence
599
00:49:12,204 --> 00:49:15,644
of extraordinary social contrasts.
600
00:49:17,324 --> 00:49:22,004
These contrasts gave
Picasso extraordinary input
601
00:49:22,084 --> 00:49:25,524
from a creative point of view
602
00:49:25,604 --> 00:49:28,004
which are evident at different moments
603
00:49:28,084 --> 00:49:29,684
in Picasso's creativity
604
00:49:29,764 --> 00:49:32,164
but especially in this Blue Period.
605
00:49:40,524 --> 00:49:44,884
There are portraits of real people
606
00:49:44,964 --> 00:49:49,124
friends of the artist who
are perfectly identifiable.
607
00:49:50,284 --> 00:49:52,324
And there are other works
608
00:49:52,444 --> 00:49:56,244
portraying female
characters of low social class
609
00:49:56,324 --> 00:49:57,324
poor
610
00:49:57,444 --> 00:50:00,644
many of which are recreations
611
00:50:00,724 --> 00:50:04,684
of possible real characters.
612
00:50:04,764 --> 00:50:08,364
Therefore we are not
talking about people that exist
613
00:50:08,484 --> 00:50:10,164
but about concepts.
614
00:50:11,364 --> 00:50:13,804
Picasso was not as interested
615
00:50:13,884 --> 00:50:16,644
in portraying a poor woman
616
00:50:16,724 --> 00:50:19,444
as portraying the concept of poverty.
617
00:50:20,724 --> 00:50:23,844
Therefore, during this Blue Period
618
00:50:23,924 --> 00:50:29,124
there is a real strength to his characters
619
00:50:29,204 --> 00:50:32,044
but they are more symbolic.
620
00:50:32,124 --> 00:50:34,564
These are very symbolist pieces.
621
00:50:48,444 --> 00:50:53,564
Picasso is special in that
he reinterprets his sources
622
00:50:53,644 --> 00:50:55,484
in a very personal way.
623
00:50:56,524 --> 00:51:01,644
La Vie of 1903 is the masterpiece
of Picasso's Blue Period
624
00:51:01,724 --> 00:51:03,724
that was painted in Barcelona
625
00:51:03,804 --> 00:51:07,724
but very much thinking back
to the experience of Paris
626
00:51:07,804 --> 00:51:10,244
with his friend, Carles Casagemas.
627
00:51:11,804 --> 00:51:15,964
It's an allegory of both life and love
628
00:51:16,044 --> 00:51:20,884
and in many ways of an artist,
like Picasso, coming-of-age.
629
00:51:51,004 --> 00:51:54,724
It is very important to emphasise
that during the Blue Period
630
00:51:54,804 --> 00:51:58,004
there was a great contrast
between two types of work.
631
00:51:58,924 --> 00:52:02,124
The major works were devoted
632
00:52:02,204 --> 00:52:04,724
to the great Picasso themes of that period
633
00:52:06,124 --> 00:52:09,564
maternity, the poor, the vagabonds
634
00:52:11,284 --> 00:52:14,284
but, in parallel his smaller works
635
00:52:14,364 --> 00:52:17,924
contained a lot of erotic content
636
00:52:18,004 --> 00:52:21,084
especially around 1903
637
00:52:21,164 --> 00:52:24,724
drawing inspiration
from the bars and taverns
638
00:52:24,804 --> 00:52:26,804
and in particular the brothels
639
00:52:26,884 --> 00:52:30,484
which Picasso frequented
640
00:52:30,564 --> 00:52:34,284
as was very common among young men.
641
00:52:34,364 --> 00:52:38,524
In a way his sexual initiation
occurred in those places.
642
00:52:44,364 --> 00:52:46,164
An example of Picasso's erotic work
643
00:52:46,244 --> 00:52:50,084
is this painting of a
completely naked woman.
644
00:52:50,884 --> 00:52:53,844
It is one of the few full-length nudes
645
00:52:53,924 --> 00:52:56,164
that Picasso painted during this period.
646
00:52:57,484 --> 00:52:59,164
We see a woman who surely
647
00:52:59,244 --> 00:53:01,764
does not correspond to any real model
648
00:53:01,844 --> 00:53:03,844
with long hair
649
00:53:05,084 --> 00:53:07,084
in a posture of proposition
650
00:53:07,164 --> 00:53:09,644
offering her sex, her body.
651
00:53:11,084 --> 00:53:15,084
It is a work that reflects
perfectly the symbolist canons
652
00:53:15,164 --> 00:53:18,724
that were prevalent in
the Blue Period of Picasso.
653
00:53:30,324 --> 00:53:33,924
In 1904, Picasso moved
into a ramshackle building
654
00:53:34,004 --> 00:53:37,804
that, on multiple floors, housed
numerous artists and writers.
655
00:53:39,004 --> 00:53:41,044
This was known as the Bateau Lavoir
656
00:53:41,124 --> 00:53:44,804
as it reminded some of the laundry
boats that were docked on the River Seine.
657
00:53:46,924 --> 00:53:49,724
This was to be Picasso's
home for five years
658
00:53:49,804 --> 00:53:53,644
and it was also where he would
have his first significant relationship.
659
00:53:57,284 --> 00:54:01,204
Picasso's attitude to women was misogynist
660
00:54:01,284 --> 00:54:04,484
but we should also
remember that all these women
661
00:54:04,564 --> 00:54:07,964
were not forced into
relationships with him.
662
00:54:08,044 --> 00:54:13,764
We should understand his
not very healthy relationships
663
00:54:13,844 --> 00:54:17,164
he had with his wives and companions
664
00:54:17,244 --> 00:54:23,084
as part of a broader culture in
which women were often mistreated.
665
00:54:24,044 --> 00:54:28,884
Picasso met Fernande Olivier,
who was a married artist's model,
666
00:54:28,964 --> 00:54:34,204
soon after he moved into the
Bateau Lavoir in the spring of 1904.
667
00:54:34,284 --> 00:54:38,284
And she would be the
muse of some key moments
668
00:54:38,364 --> 00:54:41,644
in the young Picasso's
artistic development.
669
00:54:42,364 --> 00:54:44,524
Her real name was Amélie Lang.
670
00:54:44,604 --> 00:54:47,364
They entered into a kind of relationship
671
00:54:47,484 --> 00:54:50,884
which was both artistic and personal.
672
00:54:51,564 --> 00:54:56,244
I think that Fernande was
a classical muse, in a way,
673
00:54:56,324 --> 00:54:59,524
but also, she was open
to any kind of creativity.
674
00:54:59,604 --> 00:55:01,164
And this was very important.
675
00:55:02,044 --> 00:55:04,324
You can identify a period
676
00:55:04,444 --> 00:55:07,044
because for each period there is a woman.
677
00:55:07,124 --> 00:55:10,764
Fernande Olivier was
the official first one.
678
00:55:10,844 --> 00:55:16,484
You can say, "This is the Fernande
period in his life and in his creation."
679
00:55:17,964 --> 00:55:19,484
It is very interesting
680
00:55:19,564 --> 00:55:23,364
how much there is a link
between Pablo and a subject.
681
00:55:23,484 --> 00:55:27,884
Fernande wrote a book in
1933 about the life of Picasso
682
00:55:27,964 --> 00:55:30,484
in those early years of the 20th century.
683
00:55:30,564 --> 00:55:32,564
According to what she wrote,
684
00:55:32,644 --> 00:55:34,644
it was a very happy life
685
00:55:34,724 --> 00:55:38,124
even though they had a
lot of material difficulties.
686
00:55:38,204 --> 00:55:44,444
She was remembering about
those moments of posing for him,
687
00:55:44,524 --> 00:55:47,524
but also for the moment of the relationship
688
00:55:47,604 --> 00:55:50,604
which was based on a lot of fun,
689
00:55:50,684 --> 00:55:53,524
but also about Pablo's character.
690
00:55:53,604 --> 00:55:57,324
She said that he was
very jealous, locking her up
691
00:55:57,444 --> 00:56:00,524
and being after her in a very jealous way.
692
00:56:05,244 --> 00:56:07,604
"The Spanish painter is
often in front of the door
693
00:56:07,684 --> 00:56:10,764
to the building with his
noisy gang of Spanish artists.
694
00:56:11,644 --> 00:56:14,964
I find them annoying but they
make the square more colourful.
695
00:56:16,244 --> 00:56:17,844
Yesterday the sky was black
696
00:56:17,924 --> 00:56:20,324
and when it broke we
had to rush for shelter.
697
00:56:20,964 --> 00:56:24,764
The Spanish painter had a little kitten
in his arms which he held out to me.
698
00:56:25,284 --> 00:56:29,364
I couldn't resist his magnetism
and went with him to his studio.
699
00:56:31,124 --> 00:56:34,084
It was full of large unfinished canvases.
700
00:56:34,164 --> 00:56:36,684
He must work so hard but what a mess!
701
00:56:38,044 --> 00:56:41,204
Dear God, his paintings are astonishing.
702
00:56:41,884 --> 00:56:44,004
I find something morbid in them,
703
00:56:44,084 --> 00:56:47,924
which is quite disturbing,
but I also feel drawn to them.
704
00:56:50,644 --> 00:56:54,164
The Spanish painter Picasso
adores me with real sincerity,
705
00:56:54,244 --> 00:56:55,844
which I find touching.
706
00:56:56,604 --> 00:57:00,804
He is sweet, intelligent,
very dedicated to his art,
707
00:57:00,884 --> 00:57:02,884
and he drops everything for me.
708
00:57:03,804 --> 00:57:05,724
His eyes plead with me.
709
00:57:05,804 --> 00:57:08,724
If I fall asleep, he's beside
the bed when I wake up,
710
00:57:08,804 --> 00:57:11,004
his eyes anxiously on me.
711
00:57:11,924 --> 00:57:13,924
He doesn't look after himself
712
00:57:14,004 --> 00:57:17,004
and I'm horrified by the
lack of personal cleanliness.
713
00:57:25,884 --> 00:57:28,084
He writes me desperate letters in a French
714
00:57:28,164 --> 00:57:31,204
that is highly imaginative
and quite barbaric.
715
00:57:32,764 --> 00:57:35,084
He doesn't like theatre,
he found it boring,
716
00:57:35,164 --> 00:57:38,164
and he didn't trust his
judgement over classical music.
717
00:57:39,204 --> 00:57:42,244
What he did like was
the guitar, guitarists,
718
00:57:42,324 --> 00:57:44,844
Spanish dancing and gypsy dancers.
719
00:57:44,924 --> 00:57:47,564
Everything that reminded
him of his own country."
720
00:57:48,604 --> 00:57:50,164
Fernande Olivier.
721
00:58:04,964 --> 00:58:08,164
He could be very outgoing
722
00:58:08,244 --> 00:58:11,124
very funny, very kind
723
00:58:11,204 --> 00:58:13,244
and then he could switch character
724
00:58:13,324 --> 00:58:17,324
and become more closed, more introspective.
725
00:58:17,444 --> 00:58:22,884
We find a personality that could oscillate
726
00:58:22,964 --> 00:58:26,724
between these two
very different characters.
727
00:58:26,804 --> 00:58:30,524
In fact, this was true throughout his life.
728
00:58:31,204 --> 00:58:35,044
But at the same time he
was also very professional
729
00:58:35,124 --> 00:58:37,444
and when he was working
730
00:58:37,524 --> 00:58:42,164
he did not allow himself to be interrupted
731
00:58:42,244 --> 00:58:43,364
even during his youth.
732
00:58:44,044 --> 00:58:47,444
Picasso liked to work in the evening
733
00:58:47,524 --> 00:58:49,324
and late at night
734
00:58:49,444 --> 00:58:50,924
sleep in the morning
735
00:58:51,004 --> 00:58:55,524
and continue all afternoon and
evening until four or five in the morning
736
00:58:55,604 --> 00:59:01,124
to work without anyone bothering him.
737
00:59:01,204 --> 00:59:06,684
He kept this modus
operandi throughout his life.
738
00:59:16,924 --> 00:59:19,684
"You already know how lonely I am,
739
00:59:19,764 --> 00:59:22,964
always in the middle of a
commotion and in the midst of a crowd,
740
00:59:23,044 --> 00:59:24,964
which irritates me,
741
00:59:25,764 --> 00:59:29,004
but I'm forced to deal with them
because of interest and necessity.
742
00:59:29,084 --> 00:59:30,284
One has to eat.
743
00:59:31,244 --> 00:59:32,564
But if it were only that!
744
00:59:32,644 --> 00:59:35,044
When you have to arrange
things with other people
745
00:59:35,124 --> 00:59:36,604
and when you want to do something,
746
00:59:36,684 --> 00:59:39,884
it's terrible to be obliged
to waste so much time,
747
00:59:39,964 --> 00:59:42,124
sometimes scrounging for the last peseta
748
00:59:42,204 --> 00:59:44,564
to pay for the studio or restaurant.
749
00:59:44,644 --> 00:59:48,484
And believe me all those struggles
and all this trouble isn't worth it.
750
00:59:48,564 --> 00:59:50,244
It's wasted time."
751
00:59:52,084 --> 00:59:53,524
Pablo Picasso.
752
01:00:02,684 --> 01:00:06,004
If one looks at the Seated Nude of 1905
753
01:00:06,084 --> 01:00:09,324
that is a nude female
portrait of a seated woman
754
01:00:09,444 --> 01:00:13,284
we are clearly at the junction
between the Blue and Pink Periods.
755
01:00:13,364 --> 01:00:17,084
We can clearly see the creative transition
756
01:00:17,164 --> 01:00:20,604
that Picasso is engaged in that year.
757
01:00:22,124 --> 01:00:24,644
We see a very melancholic portrait.
758
01:00:25,524 --> 01:00:27,124
In the elongation of the limbs
759
01:00:27,204 --> 01:00:29,324
and in the monochrome background
760
01:00:29,444 --> 01:00:33,004
we are for the best
part in the Blue Period.
761
01:00:34,324 --> 01:00:36,484
And with the working in of the ochres
762
01:00:36,564 --> 01:00:39,004
then the re-introduction of colour
763
01:00:39,084 --> 01:00:41,764
we are already heading
towards the Pink Period.
764
01:00:49,644 --> 01:00:52,044
When we refer to the Pink Period
765
01:00:52,124 --> 01:00:56,684
it's a little misleading
as there is very little pink.
766
01:00:56,764 --> 01:01:00,164
Indeed there is another
cycle that is much wider
767
01:01:00,244 --> 01:01:02,084
which is that of the acrobats
768
01:01:02,164 --> 01:01:07,444
and lasts from the end of 1904 until 1906.
769
01:01:19,004 --> 01:01:20,444
I think that the transition
770
01:01:20,524 --> 01:01:22,564
between the Blue Period and the Pink Period
771
01:01:22,644 --> 01:01:25,204
is based on two reasons.
772
01:01:26,004 --> 01:01:29,884
First, Pablo was attracted
by the world of circus.
773
01:01:29,964 --> 01:01:32,524
He was visiting the Medrano Circus
774
01:01:32,604 --> 01:01:35,524
and he was seeing a lot of artists
775
01:01:35,604 --> 01:01:40,324
like acrobats, clowns,
harlequins and a lot of colours.
776
01:01:40,444 --> 01:01:43,924
So, of course, it was a
large source of inspiration.
777
01:01:46,844 --> 01:01:50,764
The second reason was because
of art dealers and collectors;
778
01:01:50,844 --> 01:01:54,004
Gertrude Stein, of course,
and Ambroise Vollard.
779
01:01:54,084 --> 01:01:59,324
They were interested in the
new Picasso, so after the poor life,
780
01:01:59,444 --> 01:02:04,604
it was the beginning of a new,
comfortable life for Pablo and Fernande.
781
01:02:04,684 --> 01:02:06,644
Especially because Ambroise Vollard
782
01:02:06,724 --> 01:02:08,724
bought something like 20 paintings
783
01:02:08,804 --> 01:02:12,644
so all this was driving
him to a Pink Period.
784
01:02:12,724 --> 01:02:14,564
A period of happiness.
785
01:02:14,644 --> 01:02:18,724
It is important to say that there
was, let's say, a daily life reason
786
01:02:18,804 --> 01:02:21,004
and an artistic reason.
787
01:02:46,844 --> 01:02:48,684
The key painting of the Pink Period
788
01:02:48,764 --> 01:02:52,444
is Family of Saltimbanques of 1905,
789
01:02:52,524 --> 01:02:57,204
that represents Picasso's
love for the circus,
790
01:02:57,284 --> 01:02:59,724
which he used to attend in Paris,
791
01:02:59,804 --> 01:03:03,324
as well as his intimate
life of that period,
792
01:03:03,444 --> 01:03:08,084
by incorporating references
to his lover Fernande Olivier
793
01:03:08,684 --> 01:03:12,644
as well as his great friend
the poet Guillaume Apollinaire.
794
01:03:13,324 --> 01:03:14,324
Finally,
795
01:03:14,444 --> 01:03:16,444
Family of Saltimbanques is very important
796
01:03:16,524 --> 01:03:20,764
because we see Picasso
portraying himself as Harlequin,
797
01:03:20,844 --> 01:03:22,844
an apt alter ego for Picasso
798
01:03:22,924 --> 01:03:26,644
because he is a figure of transformation
799
01:03:26,724 --> 01:03:29,244
and someone who, out of rags,
800
01:03:29,324 --> 01:03:32,604
managed to create a
beautiful costume for himself.
801
01:03:58,124 --> 01:03:59,564
There is always something
802
01:03:59,644 --> 01:04:02,804
that connects one phase to the next.
803
01:04:04,604 --> 01:04:07,564
There are strong
connections in all his work.
804
01:04:08,204 --> 01:04:10,084
He was someone who worked tirelessly
805
01:04:10,164 --> 01:04:13,444
and who considered that what
he had to say was in the artworks.
806
01:04:15,484 --> 01:04:18,844
Picasso was always
pondering the same questions.
807
01:04:20,684 --> 01:04:22,004
What is painting?
808
01:04:22,084 --> 01:04:24,044
What am I doing as a painter?
809
01:04:25,884 --> 01:04:28,884
He questions the role of the model.
810
01:04:28,964 --> 01:04:31,044
Political engagement.
811
01:04:31,124 --> 01:04:33,124
One's place in the world.
812
01:04:33,604 --> 01:04:36,524
He is an artist that reflects
813
01:04:36,604 --> 01:04:39,124
what is happening at the time.
814
01:04:40,004 --> 01:04:43,564
And I think it's the mark of great artists
815
01:04:43,644 --> 01:04:47,364
that they produce works that
are both very rich and very open.
816
01:04:48,924 --> 01:04:51,964
Then in the subject matter
817
01:04:52,044 --> 01:04:54,204
he struggles and seeks
818
01:04:54,284 --> 01:04:57,484
to extract substance.
819
01:04:58,524 --> 01:05:03,884
He searches for the essence of things.
820
01:05:05,444 --> 01:05:08,684
In doing so he forces
the viewer to be active too
821
01:05:09,524 --> 01:05:12,644
forcing them to question themselves
822
01:05:12,723 --> 01:05:16,804
to decipher and also to put a
part of themselves in what they see.
823
01:05:19,244 --> 01:05:24,324
But he also draws on an extensive
knowledge of artistic language
824
01:05:25,444 --> 01:05:29,524
and the inter-connection
of all the disciplines.
825
01:05:30,564 --> 01:05:33,244
Don't forget that Picasso
is certainly a great painter
826
01:05:33,324 --> 01:05:35,564
but he is also a major sculptor.
827
01:05:37,124 --> 01:05:39,964
We see the pictorial tradition
828
01:05:40,044 --> 01:05:43,364
the artistic tradition reflected
in many of these works.
829
01:05:45,444 --> 01:05:47,484
Picasso is constantly inspired by
830
01:05:47,564 --> 01:05:51,684
the old masters he saw
in Madrid, at the Prado
831
01:05:51,764 --> 01:05:55,884
but now in Paris, at the Louvre
and the Luxembourg Gallery
832
01:05:55,964 --> 01:05:58,044
in all the galleries of the Rue Laffitte
833
01:05:58,124 --> 01:06:00,644
he's now seeing the
work of his contemporaries.
834
01:06:00,723 --> 01:06:04,324
He is someone who has an eye
that captures absolutely everything.
835
01:06:06,204 --> 01:06:08,764
To me my grandfather, when in Paris,
836
01:06:08,844 --> 01:06:10,684
was not looking at the past.
837
01:06:10,764 --> 01:06:13,964
Even if he saw Renoir or Manet,
838
01:06:14,924 --> 01:06:17,044
this was part of history.
839
01:06:17,124 --> 01:06:21,244
So it wasn't very important
to speak about the past,
840
01:06:21,324 --> 01:06:23,684
but to exchange with
artists about the future.
841
01:06:24,723 --> 01:06:28,924
He was in the process to make
sure that he was purely original.
842
01:06:48,084 --> 01:06:49,604
In the summer of 1906
843
01:06:49,684 --> 01:06:52,884
Picasso went to Spain to see his family
844
01:06:52,964 --> 01:06:55,004
and then continued his journey
845
01:06:55,084 --> 01:06:57,444
with Fernande Olivier, his girlfriend
846
01:06:57,524 --> 01:06:58,723
to Gósol.
847
01:06:59,644 --> 01:07:03,044
Gósol is a very small village
in the Catalan Pyrenees
848
01:07:03,124 --> 01:07:06,084
that is really lost in
the middle of nowhere.
849
01:07:06,164 --> 01:07:08,644
You had to get there by mule.
850
01:07:08,723 --> 01:07:10,484
It was truly an expedition.
851
01:07:10,564 --> 01:07:16,004
It is a village stuck in the past.
852
01:07:16,084 --> 01:07:19,444
It had no electricity, no running water.
853
01:07:20,204 --> 01:07:23,604
It's in the middle of splendid nature
854
01:07:23,684 --> 01:07:25,764
and at the same time very isolated.
855
01:07:34,604 --> 01:07:38,084
It's a landscape of very ochre colours
856
01:07:38,164 --> 01:07:39,684
very dry, very arid
857
01:07:39,764 --> 01:07:43,244
a bit wild.
858
01:07:45,484 --> 01:07:48,044
We are in the process of a homecoming
859
01:07:48,124 --> 01:07:51,804
which is what Picasso is
looking for at that moment.
860
01:08:00,524 --> 01:08:02,723
He had seen the Ingres retrospective
861
01:08:02,804 --> 01:08:04,764
at the Salon d'Automne of 1905
862
01:08:06,284 --> 01:08:08,164
and he reworked these themes
863
01:08:08,244 --> 01:08:11,564
of hair brushing, the harem, the classics.
864
01:08:12,204 --> 01:08:14,204
We can feel a Picasso searching for
865
01:08:14,284 --> 01:08:19,883
the most effective subjects
and places for his work.
866
01:08:26,723 --> 01:08:29,883
We now see a simplification of his work
867
01:08:29,964 --> 01:08:31,324
a simplification of forms
868
01:08:31,444 --> 01:08:33,723
a geometrisation of forms.
869
01:08:35,044 --> 01:08:42,124
His faces gradually become
rigid and turn into full ovals.
870
01:08:42,204 --> 01:08:45,003
We also feel this influence of sculpture.
871
01:08:45,084 --> 01:08:50,084
It will revolutionise the language of form.
872
01:08:54,843 --> 01:08:58,044
In Gósol Picasso
abandons literary subjects.
873
01:08:59,164 --> 01:09:01,524
He is no longer interested
in what he represents.
874
01:09:01,604 --> 01:09:04,204
He is interested in how he represents it.
875
01:09:04,284 --> 01:09:06,923
He is interested in the
representation of the body
876
01:09:08,084 --> 01:09:10,684
but it doesn't matter
if it's a circus artist
877
01:09:10,763 --> 01:09:13,244
or a jester or an acrobat.
878
01:09:13,324 --> 01:09:15,364
The subject disappears.
879
01:09:17,164 --> 01:09:21,003
We see the emergence in his work
880
01:09:21,084 --> 01:09:23,524
of a true modernity of language.
881
01:09:29,843 --> 01:09:33,723
After ten weeks, he and
Fernande headed back to Paris.
882
01:09:33,803 --> 01:09:37,644
It is tempting to over-simplify the
development of an artist's career
883
01:09:37,723 --> 01:09:40,964
but there is no doubt that
those ten weeks spent in Gósol
884
01:09:41,044 --> 01:09:43,044
had been transformative.
885
01:09:43,124 --> 01:09:45,484
For Picasso now began preparations
886
01:09:45,564 --> 01:09:48,164
for one of the most
significant works of his youth.
887
01:09:48,244 --> 01:09:51,284
Indeed one of the most
significant works of his life:
888
01:09:51,364 --> 01:09:53,524
Les Demoiselles d'Avignon.
889
01:10:13,044 --> 01:10:17,003
Pablo visited the Museum of
Mankind at Trocadéro in Paris.
890
01:10:17,964 --> 01:10:22,164
He was a bit lost in this
museum, in the dusty rooms
891
01:10:22,244 --> 01:10:25,964
where there were thousands
of objects from the Colonies,
892
01:10:26,044 --> 01:10:27,924
especially from Africa.
893
01:10:28,003 --> 01:10:30,364
It is how he discovered the masks.
894
01:10:33,124 --> 01:10:37,124
"A smell of mould and
neglect caught me by the throat.
895
01:10:37,844 --> 01:10:39,484
But I forced myself to stay,
896
01:10:39,564 --> 01:10:42,164
to examine these masks,
897
01:10:42,244 --> 01:10:44,924
all these objects that people had created
898
01:10:45,003 --> 01:10:47,524
with a sacred, magical purpose,
899
01:10:47,604 --> 01:10:51,324
to serve as intermediaries
between them and the unknown.
900
01:10:53,124 --> 01:10:56,124
And then I understood
what painting really meant.
901
01:10:56,204 --> 01:10:58,324
It's not an aesthetic process;
902
01:10:59,124 --> 01:11:00,764
it's a form of magic
903
01:11:00,844 --> 01:11:05,884
that interposes itself between
us and the hostile universe,
904
01:11:05,964 --> 01:11:07,324
a means of seizing power
905
01:11:07,444 --> 01:11:12,124
by imposing a form on our
terrors as well as on our desires.
906
01:11:13,284 --> 01:11:17,164
The day I understood
that, I had found my path."
907
01:11:19,484 --> 01:11:23,284
He was impressed because
he was trying to understand
908
01:11:23,364 --> 01:11:25,964
what was the process
because it was frightening.
909
01:11:26,044 --> 01:11:28,804
At the same time, it was
like a kind of protection.
910
01:11:29,364 --> 01:11:33,604
He had seen a mask at Gertrude Stein's home
911
01:11:33,684 --> 01:11:37,764
and remembered that he was
discussing that with Matisse.
912
01:11:38,484 --> 01:11:44,003
And where the other artists were
neglecting this type of civilisation,
913
01:11:44,084 --> 01:11:49,284
he was considering that his
present was a result of the past.
914
01:11:49,364 --> 01:11:52,484
From that moment, he started to observe
915
01:11:52,564 --> 01:11:57,204
what was the simplified
representation of the humankind.
916
01:11:57,964 --> 01:12:02,124
At the same time, he was also trying
to understand how it was possible
917
01:12:02,204 --> 01:12:08,244
to go through the reality of, let's say,
a traditional representation of the face
918
01:12:08,324 --> 01:12:13,324
with the potentiality of
representing faces and profiles.
919
01:12:13,444 --> 01:12:18,204
So it was a kind of exploration in
this period that we call Primitivism.
920
01:12:18,964 --> 01:12:25,604
Primitivism has very much to do with
the encounter with non-Western art.
921
01:12:26,164 --> 01:12:31,684
It includes pre-Classical sculpture,
as well as so-called 'tribal' arts.
922
01:12:31,764 --> 01:12:36,044
All of these examples provided artists
923
01:12:36,124 --> 01:12:39,124
with a different approach to representation
924
01:12:39,204 --> 01:12:43,564
from the one they had learned
through academic training.
925
01:13:10,324 --> 01:13:13,564
"Picasso continued to be
driven by great ambition,
926
01:13:13,644 --> 01:13:15,924
despite the fact that he
was reluctant to exhibit
927
01:13:16,003 --> 01:13:19,724
and never took part in
group exhibitions at that time.
928
01:13:19,804 --> 01:13:22,204
He wanted to create a new kind of art,
929
01:13:22,284 --> 01:13:24,604
and although with his abilities
930
01:13:24,684 --> 01:13:28,604
he could have enjoyed great
success as a traditional artist,
931
01:13:28,684 --> 01:13:30,804
he wanted to be an innovator."
932
01:13:31,884 --> 01:13:33,444
Fernande Olivier.
933
01:13:37,444 --> 01:13:39,724
"Picasso inevitably presented us
934
01:13:39,804 --> 01:13:41,204
with an appearance of the world
935
01:13:41,284 --> 01:13:45,764
which did not conform to the way
in which we had learned to see it.
936
01:13:46,724 --> 01:13:48,724
For the first time in Picasso's work
937
01:13:48,804 --> 01:13:53,444
the expression of the faces is
neither tragic nor passionate.
938
01:13:54,444 --> 01:13:59,084
These are masks almost
entirely free from humanity."
939
01:14:00,044 --> 01:14:01,764
André Salmon, critic.
940
01:14:04,084 --> 01:14:06,524
At this moment in Picasso's career
941
01:14:06,604 --> 01:14:10,204
he is really out to do nothing less
942
01:14:10,284 --> 01:14:14,644
than reinvent the history
of Western painting
943
01:14:14,724 --> 01:14:19,044
in his own aggressively confrontational,
944
01:14:19,124 --> 01:14:23,644
stylistically disjunctive,
provocative terms.
945
01:14:23,724 --> 01:14:26,444
We know he put a lot of
time into planning this work.
946
01:14:26,524 --> 01:14:29,084
We can just see from the size of it
947
01:14:29,164 --> 01:14:31,884
that it is of tremendous ambition
948
01:14:31,964 --> 01:14:36,444
and I think he was intent
on making people stand back
949
01:14:36,524 --> 01:14:39,684
and say I've never seen
a painting like this before.
950
01:14:40,524 --> 01:14:46,884
Les Demoiselles d'Avignon started
as a narrative scene set in a brothel,
951
01:14:46,964 --> 01:14:52,804
of two men, a sailor and a medical student,
952
01:14:52,884 --> 01:14:55,284
surrounded by five prostitutes.
953
01:14:56,084 --> 01:15:01,724
In time it became a very iconic
image of five female nudes.
954
01:15:04,164 --> 01:15:06,724
Choosing a canvas of such a size
955
01:15:06,804 --> 01:15:09,204
is significant for an artist at this time.
956
01:15:10,204 --> 01:15:13,324
What he chooses to
represent is a brothel scene.
957
01:15:13,444 --> 01:15:17,164
And it's a brothel scene
that is very confrontational.
958
01:15:24,764 --> 01:15:27,764
The composition is very interesting
959
01:15:27,844 --> 01:15:32,724
since when we look at his studies
960
01:15:32,804 --> 01:15:35,604
we see that Picasso originally planned
961
01:15:35,684 --> 01:15:38,324
to include two male characters.
962
01:15:39,604 --> 01:15:43,364
One was a sailor, a
regular customer of brothels
963
01:15:43,484 --> 01:15:46,003
and the other was a medical student
964
01:15:46,084 --> 01:15:47,844
arriving with a skull.
965
01:15:49,084 --> 01:15:52,284
So it's this omission of
the two male characters
966
01:15:52,364 --> 01:15:55,444
that puts the viewer in
the position of voyeur.
967
01:15:56,484 --> 01:15:58,484
That's very important
968
01:15:58,564 --> 01:16:03,204
since we are now complicit
with what is happening.
969
01:16:03,284 --> 01:16:06,684
One of the characters opens a curtain
970
01:16:06,764 --> 01:16:11,244
and we are caught in the
scene inside the brothel
971
01:16:11,324 --> 01:16:13,604
which was also something
violent at that time.
972
01:16:17,124 --> 01:16:19,924
This is a picture with a
particular erotic charge
973
01:16:20,003 --> 01:16:25,724
that certainly has to do with
the putative brothel scenario.
974
01:16:26,924 --> 01:16:29,764
One of the things I always
notice when I look at this work
975
01:16:29,844 --> 01:16:34,444
is the way that each one of
those figures locks eyes with us.
976
01:16:35,764 --> 01:16:40,684
It's one of the most aggressive
pictures in relation to the viewer's gaze.
977
01:16:40,764 --> 01:16:44,003
Traditionally we would be
staring at objects in a painting;
978
01:16:44,084 --> 01:16:49,684
here these powerful female
figures are staring back out at us.
979
01:16:52,724 --> 01:16:55,884
The title of this painting
is extremely confusing
980
01:16:55,964 --> 01:16:58,444
because first we speak about demoiselles
981
01:16:58,524 --> 01:17:00,124
when they are prostitutes,
982
01:17:00,204 --> 01:17:03,204
and we say Avignon which is a
little town in the south of France.
983
01:17:03,284 --> 01:17:08,124
But you have to refer to the
Carrer d'Avinyó in Barcelona
984
01:17:08,204 --> 01:17:11,804
which was the street
of the brothels and bars.
985
01:17:15,284 --> 01:17:17,764
The very origin
986
01:17:17,844 --> 01:17:20,604
of the title of the work
987
01:17:20,684 --> 01:17:22,204
and the iconography
988
01:17:22,284 --> 01:17:24,003
are from the visits that Picasso
989
01:17:24,084 --> 01:17:25,964
made to brothels in Barcelona.
990
01:17:26,044 --> 01:17:28,684
In a way, it's an iconography
991
01:17:28,764 --> 01:17:31,524
made in France but it takes as reference
992
01:17:31,604 --> 01:17:34,804
the moments and memories of his youth
993
01:17:34,884 --> 01:17:39,524
of the young Picasso
entering such brothels.
994
01:17:41,204 --> 01:17:44,884
The other fact is that Pablo was
not giving titles to his artworks.
995
01:17:44,964 --> 01:17:46,964
It would have been very difficult for Pablo
996
01:17:47,044 --> 01:17:48,484
to give a title for each painting
997
01:17:48,564 --> 01:17:51,364
when you think that he has made
more than 8,000, for example.
998
01:17:51,484 --> 01:17:54,044
But for Les Demoiselles d'Avignon,
999
01:17:54,124 --> 01:17:57,204
the real title should be The
Prostitutes of the Carrer d'Avinyó
1000
01:17:57,284 --> 01:17:59,844
which is not very
attractive for a painting.
1001
01:18:00,604 --> 01:18:04,884
In fact, the titles were given by
art dealers or people after that.
1002
01:18:04,964 --> 01:18:07,364
Then we have the style
1003
01:18:07,484 --> 01:18:11,484
which has really shaken things up.
1004
01:18:13,924 --> 01:18:17,804
We have strong geometric influences
1005
01:18:17,884 --> 01:18:19,564
with liberties taken
1006
01:18:19,644 --> 01:18:23,364
in relation to the
representation of the model.
1007
01:18:26,364 --> 01:18:28,884
We often talk about
this 'quarter-of-brie' nose
1008
01:18:28,964 --> 01:18:33,164
because Picasso has turned the
profile of the nose on to the face.
1009
01:18:35,244 --> 01:18:38,244
We see a multiplication of points of view
1010
01:18:38,324 --> 01:18:40,924
and it doesn't matter if
the face is a front view
1011
01:18:41,003 --> 01:18:43,364
we can still put the nose in profile.
1012
01:18:45,204 --> 01:18:49,444
So we have this violence, something new.
1013
01:18:49,524 --> 01:18:51,844
Many will question it
1014
01:18:51,924 --> 01:18:53,484
be surprised by it
1015
01:18:53,564 --> 01:18:55,884
and even reject it.
1016
01:18:55,964 --> 01:18:58,684
When he showed Les
Demoiselles d'Avignon to his friends
1017
01:18:58,764 --> 01:19:02,804
although they were poets,
avant-gardists and open-minded
1018
01:19:02,884 --> 01:19:04,644
the reactions were terrible.
1019
01:19:06,124 --> 01:19:09,604
Les Demoiselles d'Avignon
is a painting that is significant
1020
01:19:09,684 --> 01:19:12,684
because of its incorporation
1021
01:19:12,764 --> 01:19:15,804
of so-called 'primitive' traditions
1022
01:19:15,884 --> 01:19:18,644
into a very classical format.
1023
01:19:20,204 --> 01:19:24,764
The change within it was very much prompted
1024
01:19:24,844 --> 01:19:30,164
by the reference to
non-Western artistic sources.
1025
01:19:30,764 --> 01:19:35,044
First of all, the Iberian
sculpture from Andalucía,
1026
01:19:35,124 --> 01:19:37,324
Cerro de los Santos,
1027
01:19:37,444 --> 01:19:40,244
and then the African masks
1028
01:19:40,324 --> 01:19:46,844
and examples from the modern
primitivist tradition of Gauguin
1029
01:19:46,924 --> 01:19:51,324
that Picasso had recently
come to consider in his work.
1030
01:19:53,524 --> 01:19:56,844
So Picasso superimposed faces
1031
01:19:56,924 --> 01:20:00,844
that were inspired not
only by non-Western art,
1032
01:20:00,924 --> 01:20:04,684
but also references to
the art of Paul Gauguin
1033
01:20:04,764 --> 01:20:07,244
or Egyptian sculpture
1034
01:20:07,324 --> 01:20:13,524
onto the bodies of women that
are posing as classical Venuses.
1035
01:20:13,604 --> 01:20:19,644
So this coming together of
Primitivism and Classicism
1036
01:20:19,724 --> 01:20:21,484
makes Les Demoiselles d'Avignon
1037
01:20:21,564 --> 01:20:25,003
a turning point in the history
of Western art as a whole.
1038
01:20:27,604 --> 01:20:30,003
What Picasso succeeds in doing
1039
01:20:30,084 --> 01:20:34,003
in the 14 years up to 1907
1040
01:20:34,084 --> 01:20:36,084
is indeed a revolution.
1041
01:20:36,164 --> 01:20:39,724
He changes the way we see reality.
1042
01:20:40,524 --> 01:20:45,724
Les Demoiselles d'Avignon is the
beginning of what will become cubism.
1043
01:20:45,804 --> 01:20:48,724
This way of representing the world
1044
01:20:48,804 --> 01:20:51,484
from several points of
view at the same time.
1045
01:20:52,524 --> 01:20:56,364
This is a revolution because
since the Renaissance
1046
01:20:56,484 --> 01:20:57,964
since the use of perspective
1047
01:20:58,044 --> 01:21:01,484
the world has been represented
1048
01:21:01,564 --> 01:21:04,564
from a single point of view
1049
01:21:04,644 --> 01:21:08,324
constructing different
planes using depth of field
1050
01:21:08,444 --> 01:21:11,644
using mathematics
1051
01:21:11,724 --> 01:21:15,324
to present reality
1052
01:21:15,444 --> 01:21:16,844
as we perceive it
1053
01:21:16,924 --> 01:21:19,124
in the most faithful way possible.
1054
01:21:20,884 --> 01:21:25,044
Now we have this extra
dimension to the painting
1055
01:21:25,124 --> 01:21:28,084
which is its need to be recomposed
1056
01:21:28,164 --> 01:21:30,524
in the imagination of the viewer.
1057
01:21:33,364 --> 01:21:37,484
In cubism the viewer needs
to intellectually recompose
1058
01:21:37,564 --> 01:21:40,364
the complexity of a known object
1059
01:21:40,484 --> 01:21:44,364
which if we consider it as a
three-dimensional structure
1060
01:21:44,484 --> 01:21:48,284
can't be reflected
exactly on a flat surface.
1061
01:21:49,484 --> 01:21:51,684
And that's truly a revolution.
1062
01:21:53,204 --> 01:21:57,604
It's very interesting that,
in the space of ten years,
1063
01:21:57,684 --> 01:22:01,684
attitudes to the whole
issue of Primitivism in art
1064
01:22:01,764 --> 01:22:03,324
and also to Les Demoiselles
1065
01:22:03,444 --> 01:22:05,444
changed quite radically.
1066
01:22:05,524 --> 01:22:10,484
When Picasso first showed
Les Demoiselles to his friends
1067
01:22:10,564 --> 01:22:13,964
they reacted very strongly
and very negatively,
1068
01:22:14,044 --> 01:22:16,804
considering it a complete failure.
1069
01:22:16,884 --> 01:22:18,604
André Derain even said
1070
01:22:18,684 --> 01:22:24,324
that one day they will find
Picasso hanging behind the painting.
1071
01:22:24,444 --> 01:22:28,884
Then by 1916, despite the war,
1072
01:22:28,964 --> 01:22:34,084
Les Demoiselles had a huge
success in a very fashionable art gallery,
1073
01:22:34,164 --> 01:22:39,003
where it was displayed by
the French designer Paul Poiret.
1074
01:22:39,644 --> 01:22:43,284
So, we can say that in these ten years
1075
01:22:43,364 --> 01:22:47,204
there was an inclusion of avant-garde art
1076
01:22:47,284 --> 01:22:50,444
that allowed for Primitivism
and Les Demoiselles
1077
01:22:50,524 --> 01:22:53,284
to become fashionable commodities.
1078
01:22:54,924 --> 01:23:00,364
It's true, it was not shown
publicly until July 1916,
1079
01:23:00,484 --> 01:23:03,604
but it was seen in Picasso's studio
1080
01:23:03,684 --> 01:23:05,684
which many, many people passed through.
1081
01:23:05,764 --> 01:23:10,284
The legend is that everybody
was shocked and appalled,
1082
01:23:10,364 --> 01:23:12,764
but I think when you really begin to look
1083
01:23:12,844 --> 01:23:14,724
at the literature and the commentary
1084
01:23:14,804 --> 01:23:17,124
that the responses were more mixed.
1085
01:23:17,204 --> 01:23:19,324
I think what is, it seems to me,
1086
01:23:19,444 --> 01:23:23,604
very true is that this was a picture
1087
01:23:23,684 --> 01:23:26,444
that surprised and shocked and upset.
1088
01:23:26,524 --> 01:23:28,844
But that isn't necessarily
a pejorative thing;
1089
01:23:28,924 --> 01:23:30,364
that's a great thing.
1090
01:23:30,484 --> 01:23:33,844
It's a cause for argument
and debate and dissent.
1091
01:23:34,564 --> 01:23:38,044
So there's the public showing,
there's the private impact,
1092
01:23:38,124 --> 01:23:40,684
there are the artists' studio conversations
1093
01:23:40,764 --> 01:23:42,804
and then in the 1920s
1094
01:23:42,884 --> 01:23:47,444
one of the young poets
who was a foundational figure
1095
01:23:47,524 --> 01:23:48,644
for the surrealist artist,
1096
01:23:48,724 --> 01:23:51,764
André Breton, saw this picture
1097
01:23:51,844 --> 01:23:56,324
and ended up convincing its first
buyer to purchase it, Jacques Doucet
1098
01:23:56,444 --> 01:24:01,604
and Breton then for a whole
generation of artists in the '20s and '30s
1099
01:24:01,684 --> 01:24:03,924
he published the
picture, he wrote about it,
1100
01:24:04,003 --> 01:24:06,204
he saw it as a watershed
1101
01:24:06,284 --> 01:24:10,964
as the picture that took art
beyond painting for the first time.
1102
01:24:11,644 --> 01:24:13,644
And then in the '30s it comes to New York
1103
01:24:13,724 --> 01:24:16,844
and it is acquired by the
Museum of Modern Art
1104
01:24:16,924 --> 01:24:21,604
and it's included in the first
big exhibition MoMA did in 1939
1105
01:24:21,684 --> 01:24:23,084
of Picasso's work
1106
01:24:23,164 --> 01:24:26,804
and I imagine it's been
on our walls ever since.
1107
01:24:27,764 --> 01:24:31,244
One thing I always like to ask
people to do in front of any work of art
1108
01:24:31,324 --> 01:24:33,164
and I suppose this one in particular
1109
01:24:33,244 --> 01:24:36,524
is to look at it for 30 seconds in silence
1110
01:24:36,604 --> 01:24:38,684
and think about what they notice.
1111
01:24:38,764 --> 01:24:40,284
I think with this one,
1112
01:24:40,364 --> 01:24:41,804
for people who might say,
1113
01:24:41,884 --> 01:24:46,964
"Oh, I would rather look at a
Titian or an Ingres or a Delacroix",
1114
01:24:47,044 --> 01:24:49,003
then the question I would pose to them
1115
01:24:49,084 --> 01:24:52,003
is to hold those pictures
that you love in mind
1116
01:24:52,084 --> 01:24:54,524
and look at this one and think,
1117
01:24:54,604 --> 01:24:58,204
"Why would Picasso want
to do something so different?
1118
01:24:58,284 --> 01:25:00,604
And how is it making me feel?
1119
01:25:00,684 --> 01:25:05,003
And what is it that is in
fact different about this?
1120
01:25:05,084 --> 01:25:09,684
Why would a painter want to make
something that seems so wilfully ugly,
1121
01:25:09,764 --> 01:25:13,524
or grotesque, or discomforting,
or confrontational?"
1122
01:25:13,604 --> 01:25:16,484
And I think the more that you do that
1123
01:25:16,564 --> 01:25:20,164
the more that this picture
begins to get back to you.
1124
01:26:02,964 --> 01:26:05,964
Les Demoiselles d'Avignon is said to be
1125
01:26:06,044 --> 01:26:08,484
the origin of modern art.
1126
01:26:08,564 --> 01:26:12,444
It is a confusing consideration
1127
01:26:12,524 --> 01:26:15,644
because to me it is
because of its size, of course,
1128
01:26:15,724 --> 01:26:18,204
and the innovation of creation.
1129
01:26:18,284 --> 01:26:20,724
On the other side, it is
probably a question of marketing
1130
01:26:20,804 --> 01:26:24,644
because of the creation of the
Museum of Modern Art in New York
1131
01:26:24,724 --> 01:26:26,324
at the beginning of the '30s.
1132
01:26:26,444 --> 01:26:30,844
So probably it is not the
first artwork of modern art,
1133
01:26:30,924 --> 01:26:35,164
but it is probably the one
which is symbolising at its most.
1134
01:26:35,244 --> 01:26:37,244
This is why it is a treasure,
1135
01:26:37,324 --> 01:26:40,844
not only for the museum
itself, but for the 20th century.
1136
01:26:42,884 --> 01:26:44,884
Picasso is an artist of reference.
1137
01:26:44,964 --> 01:26:48,204
Even today so many years after his death
1138
01:26:48,284 --> 01:26:52,724
he remains a reference not
only for scholars but for artists.
1139
01:26:54,804 --> 01:26:59,884
A great artist, the first
who was able to manipulate
1140
01:26:59,964 --> 01:27:02,804
all elements of the media within his reach
1141
01:27:02,884 --> 01:27:05,964
who throughout his artistic life
1142
01:27:06,044 --> 01:27:12,764
maintained the highest level of output.
1143
01:27:15,724 --> 01:27:20,524
He is one of the greatest
references for 20th-century art
1144
01:27:20,604 --> 01:27:23,604
and his ability to communicate
1145
01:27:23,684 --> 01:27:27,964
made him an absolutely unparalleled artist
1146
01:27:28,044 --> 01:27:31,484
known worldwide today.
1147
01:27:32,884 --> 01:27:37,084
There are very few artists
whose name or signature
1148
01:27:37,164 --> 01:27:40,804
is known as widely as Pablo Picasso.
1149
01:27:44,084 --> 01:27:47,003
There is one thing that is very important.
1150
01:27:47,084 --> 01:27:52,204
Picasso never tired of experimenting.
1151
01:27:53,764 --> 01:28:00,044
He was a man somewhat
dissatisfied with his work
1152
01:28:00,124 --> 01:28:05,244
thus always trying to advance
1153
01:28:05,324 --> 01:28:08,564
and experiment in new areas.
1154
01:28:13,324 --> 01:28:21,324
I think he was always
frustrated with himself.
1155
01:28:22,484 --> 01:28:27,164
That's why there's such
an enormous quantity
1156
01:28:27,244 --> 01:28:31,244
of ceramics, engravings,
drawings, oil paintings.
1157
01:28:31,324 --> 01:28:34,324
I personally calculate about 50,000 works.
1158
01:28:47,324 --> 01:28:50,844
It's a whole world, a whole universe
1159
01:28:50,924 --> 01:28:53,244
that he has bequeathed to us,
1160
01:28:53,324 --> 01:28:55,764
a way to understand the 20th century.
1161
01:28:55,844 --> 01:29:01,044
After all, Picasso is the summation
of all that is the 20th century.
89648
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