Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,500 --> 00:00:02,460
Welcome to Great Art.
2
00:00:02,460 --> 00:00:05,540
For the past few years, we've been
filming the biggest exhibitions,
3
00:00:05,540 --> 00:00:07,740
art galleries
and museums in the world,
4
00:00:07,740 --> 00:00:11,220
exploring some of the greatest
artists and art in history.
5
00:00:11,220 --> 00:00:13,620
Not only
do we record landmark shows,
6
00:00:13,620 --> 00:00:16,820
but we also secure privileged access
behind the scenes.
7
00:00:16,820 --> 00:00:18,740
We then use this as a springboard
8
00:00:18,740 --> 00:00:22,140
to take a broader look
at extraordinary artists.
9
00:00:22,140 --> 00:00:24,340
In the autumn of 1907,
10
00:00:24,340 --> 00:00:28,780
a young Spanish artist showed
his Parisian friends a new painting.
11
00:00:28,780 --> 00:00:31,500
So horrified were they,
that he rolled it up
12
00:00:31,500 --> 00:00:32,980
and hid it away for a decade.
13
00:00:32,980 --> 00:00:37,300
And yet, it's a painting that
changed the course of art history.
14
00:00:37,300 --> 00:00:40,060
The artist was Pablo Picasso.
15
00:00:40,060 --> 00:00:41,420
And in this film, we ask:
16
00:00:41,420 --> 00:00:45,380
where exactly did this genius
of the 20th century come from?
17
00:00:45,380 --> 00:00:49,540
This is the dramatic and revealing
history of young Picasso.
18
00:01:27,660 --> 00:01:30,380
JAUNTY MUSIC
19
00:02:20,020 --> 00:02:24,060
Picasso es, como tantos artistas
del principio del siglo,
20
00:02:24,060 --> 00:02:28,780
una mezcla interesante
de muchisima influencia.
21
00:02:28,780 --> 00:02:31,740
Habia un poeta espanol,
Antonio Machado,
22
00:02:31,740 --> 00:02:35,780
que decia que la patria
de un hombre es su infancia.
23
00:02:35,780 --> 00:02:41,460
La infancia de Picasso es malaguena
y su patria es malaguena.
24
00:02:41,460 --> 00:02:44,700
El lo ha recordado
durante toda su vida.
25
00:02:44,700 --> 00:02:47,940
Ha recordado sobre
todo la luz del Mediterraneo.
26
00:02:47,940 --> 00:02:51,180
Ha recordado los toros que visitaba
con sus padres y sus tios,
27
00:02:51,180 --> 00:02:53,140
aqui en Malaga.
28
00:02:53,140 --> 00:02:55,900
Lleva impregnado el flamenco.
29
00:02:55,900 --> 00:03:02,380
Picasso es malagueno, pero tambien
es barcelones, tambien es corunes,
30
00:03:02,380 --> 00:03:07,460
y tambien es, al final,
un artista que se hace en Paris,
31
00:03:07,460 --> 00:03:11,940
pero su patria, su infancia,
es Malaga.
32
00:03:13,020 --> 00:03:17,060
Aunque Picasso estudio a fondo
33
00:03:17,060 --> 00:03:20,180
las tradiciones mas importantes
34
00:03:20,180 --> 00:03:23,620
del arte,
germano, italiano, frances,
35
00:03:23,620 --> 00:03:26,860
hay algo en su obra
que desde mi punto de vista
36
00:03:26,860 --> 00:03:33,340
nos lleva directamente al sur... a
ese sur hibrido, ese sur sintetico,
37
00:03:33,340 --> 00:03:38,820
ese sur en el que distintas culturas
historicamente han convivido,
38
00:03:38,820 --> 00:03:43,900
se han encontrado como la hebrea,
la arabe, la cristiana.
39
00:03:43,900 --> 00:03:46,780
Yo creo que la clave
para entender eso esta
40
00:03:46,780 --> 00:03:48,140
en la misma obra de Picasso,
41
00:03:48,140 --> 00:03:51,940
porque tiene elementos, formas,
42
00:03:51,940 --> 00:03:56,500
claves propias de culturas distintas
43
00:03:56,500 --> 00:03:59,820
a su lugar de origen
que es el sur de Espana.
44
00:03:59,820 --> 00:04:02,060
CHEERING AND APPLAUSE
45
00:04:31,420 --> 00:04:36,660
Aqui, en Malaga,
Picasso disfruta de los toros...
46
00:04:38,860 --> 00:04:41,260
..disfruta de las palomas.
47
00:04:41,260 --> 00:04:45,740
Eso lo acercaba mucho a Andalucia,
48
00:04:45,740 --> 00:04:48,780
a sus raices, a sus origenes.
49
00:04:57,940 --> 00:05:02,380
Estamos en la misma case
donde nacio Pablo Ruiz Picasso,
50
00:05:02,380 --> 00:05:06,660
el 25 de octubre de 1881.
51
00:05:09,060 --> 00:05:14,020
Esta casa habia sido habitada antes
de la boda del padre de Picasso,
52
00:05:14,020 --> 00:05:18,620
por el padre
y por dos hermanas del padre.
53
00:05:18,620 --> 00:05:23,220
Pero a raiz de la boda de Don Jose
Ruiz Blasco con Maria Picasso Lopez,
54
00:05:23,220 --> 00:05:27,500
la familia, ya el matrimonio,
viene a vivir aqui.
55
00:05:29,460 --> 00:05:33,180
En esta casa
que es donde nace Picasso.
56
00:05:37,500 --> 00:05:41,820
La familia tiene
una gran influencia en Picasso,
57
00:05:41,820 --> 00:05:47,140
el caracter de Dona Maria,
la profesion de Don Jose,
58
00:05:47,140 --> 00:05:52,300
conforman evidentemente
un importante factor de influencia
59
00:05:52,300 --> 00:05:54,180
en su vida y en su obra.
60
00:05:54,180 --> 00:05:59,580
Picasso crece en una familia pequena
burguesa malaguena en la que
61
00:05:59,580 --> 00:06:03,580
a traves de la profesion de su padre
y los amigos de su padre
62
00:06:03,580 --> 00:06:05,780
entra en contacto directo
63
00:06:05,780 --> 00:06:08,460
con la pintura, con el dibujo,
con el color.
64
00:06:09,900 --> 00:06:16,420
Aqui hace sus primeros dibujos,
sus primeras tablitas de pintura.
65
00:06:16,420 --> 00:06:21,820
La infancia de Pablo Picasso
fue una infancia excitante,
66
00:06:21,820 --> 00:06:27,700
porque estaba vinculado al arte,
ya que su padre era maestro,
67
00:06:27,700 --> 00:06:33,540
y por otro lado fue una infancia
llena de estimulos visuales.
68
00:06:40,860 --> 00:06:44,660
Malaga era una ciudad pequena.
Vivia en una parte
69
00:06:44,660 --> 00:06:47,780
en la cual
habia mucha vida en la calle
70
00:06:47,780 --> 00:06:51,300
y eso probablemente afecto
71
00:06:51,300 --> 00:06:53,900
su manera de entender el mundo.
72
00:07:03,380 --> 00:07:07,620
Malaga
and the presence of his father
73
00:07:07,620 --> 00:07:11,860
were the key points
of his influences.
74
00:07:11,860 --> 00:07:14,860
I would say that
when his father was asking him
75
00:07:14,860 --> 00:07:19,100
to draw a pigeon
or to go to a corrida with him,
76
00:07:19,100 --> 00:07:23,860
he was building his son
with very strong Spanish roots.
77
00:07:23,860 --> 00:07:26,100
We cannot neglect the fact
78
00:07:26,100 --> 00:07:30,060
that Don Jose is very important
for Pablo as an inspiration.
79
00:07:30,060 --> 00:07:34,300
He realised that
Pablo was more than talented,
80
00:07:34,300 --> 00:07:36,780
and that
this needed to be supported.
81
00:07:44,700 --> 00:07:48,580
In 1891, a few days
before his tenth birthday,
82
00:07:48,580 --> 00:07:52,780
Pablo arrived in a very
different part of Spain, La Coruna,
83
00:07:52,780 --> 00:07:55,140
on the northern Atlantic coast.
84
00:07:55,140 --> 00:07:59,380
Pablo's father, Jose,
had secured a teaching role.
85
00:07:59,380 --> 00:08:02,260
And it was here that
he really taught his young son
86
00:08:02,260 --> 00:08:03,660
how to paint with oils.
87
00:08:29,420 --> 00:08:32,060
MAN: In La Coruna,
my father did not go out
88
00:08:32,060 --> 00:08:34,460
unless it was to go
to the art school.
89
00:08:34,460 --> 00:08:37,580
On his return, he painted.
But nothing more.
90
00:08:41,300 --> 00:08:45,220
The rest of the time, he looked out
the window at the falling rain...
91
00:08:45,220 --> 00:08:48,140
and then, in the end,
he abandoned painting for good.
92
00:08:48,140 --> 00:08:50,420
Instead, he gave me
his colours and his brushes,
93
00:08:50,420 --> 00:08:52,140
and he never painted again.
94
00:09:02,740 --> 00:09:09,620
Picasso llega a La Coruna el 14 de
octubre 1891 proveniente de Malaga
95
00:09:09,620 --> 00:09:13,820
y erito toda la familia
hicieron el viaje en barco.
96
00:09:13,820 --> 00:09:15,660
Picasso, el primer ano,
97
00:09:15,660 --> 00:09:19,900
se apunta en el instituto
de estudios secundarios
98
00:09:19,900 --> 00:09:24,100
y la escuela de bellas artes
estaba en el mismo edificio
99
00:09:24,100 --> 00:09:26,700
que el instituto de secundaria.
100
00:09:26,700 --> 00:09:32,500
Y, a principios de 1895, se crea
una nueva asignatura en la escuela
101
00:09:32,500 --> 00:09:34,780
que es figura del natural
102
00:09:34,780 --> 00:09:38,460
y es el propio padre
el que paga a los modelos
103
00:09:38,460 --> 00:09:43,260
para que posen para
Picasso y sus otros condiscipulos.
104
00:09:43,260 --> 00:09:46,700
Entonces, es aqui
donde este salto de Picasso
105
00:09:46,700 --> 00:09:48,340
va a ser mas considerable,
106
00:09:48,340 --> 00:09:52,740
porque en dos o tres meses
empieza a hacer muchos retratos.
107
00:09:52,740 --> 00:09:57,460
Picasso va a conseguir
unas criticas muy elogiosas
108
00:09:57,460 --> 00:10:03,020
con que ya lo estan comparando
con Giotto y con Rafael Sanzio.
109
00:10:04,580 --> 00:10:09,140
Estas pinturas mas que ser
consideradas unas obras de un genio,
110
00:10:09,140 --> 00:10:12,900
hemos de pensar que son unas obras
de un nino de 13 anos
111
00:10:12,900 --> 00:10:14,500
que ya apunta maneras.
112
00:10:53,300 --> 00:10:59,020
My grandfather realised that
the artistic scene was in Barcelona.
113
00:10:59,020 --> 00:11:01,900
Of course, he was very young,
13, 14 years old.
114
00:11:01,900 --> 00:11:04,660
And there is
a part of luck in his life,
115
00:11:04,660 --> 00:11:09,260
because when his father
was appointed in La Coruna,
116
00:11:09,260 --> 00:11:12,980
was offered to make a switch
with someone in Barcelona,
117
00:11:12,980 --> 00:11:14,740
it was just luck,
118
00:11:14,740 --> 00:11:19,020
because Pablo was going to be part
of the artistic scene of Spain,
119
00:11:19,020 --> 00:11:22,460
and from Barcelona,
everything was possible.
120
00:11:43,980 --> 00:11:47,020
Muy poco
despues de llegar a Barcelona,
121
00:11:47,020 --> 00:11:50,980
Picasso ya se matricula
en la escuela de Llotja.
122
00:11:50,980 --> 00:11:54,860
La formacion en esa epoca
era realmente muy anticuada.
123
00:11:54,860 --> 00:11:58,340
A los jovenes estudiantes,
no les gustaba demasiado
124
00:11:58,340 --> 00:12:01,980
porque la academia
era basicamente repeticion, copia.
125
00:12:03,180 --> 00:12:08,700
Picasso era muy reacio, digamos,
a esa formacion, pero en cambio,
126
00:12:08,700 --> 00:12:15,180
se da la gran paradoja que esa
formacion que Picasso tuvo academica
127
00:12:15,180 --> 00:12:19,500
en La Coruna, en Barcelona
y, posteriormente, en Madrid,
128
00:12:19,500 --> 00:12:23,340
fue decisiva
para su formacion como artista.
129
00:12:24,820 --> 00:12:29,100
Picasso, a pesar de que es
un artista que durante toda su vida
130
00:12:29,100 --> 00:12:34,220
querra romper las reglas
y transgredir, digamos,
131
00:12:34,220 --> 00:12:39,940
todos los sistemas de ensenanza
que tuvo en su formacion,
132
00:12:39,940 --> 00:12:45,540
a pesar de eso es un artista que
tiene una base muy solida, muy dura,
133
00:12:45,540 --> 00:12:50,060
una base que le permitio
posteriormente desarrollarse de
134
00:12:50,060 --> 00:12:53,220
una forma mas solida como artista.
135
00:12:54,980 --> 00:13:00,500
El Picasso que esta en Barcelona
es un artista todavia en formacion.
136
00:13:00,500 --> 00:13:03,420
Muy eclectico, en el sentido
137
00:13:03,420 --> 00:13:07,620
de que se nutre
de diferentes influencias
138
00:13:07,620 --> 00:13:09,420
que le llegan desde fuera,
139
00:13:09,420 --> 00:13:12,900
pero todavia no ha definido
un estilo propio...
140
00:13:12,900 --> 00:13:15,620
pero mientras tanto
las influencias
141
00:13:15,620 --> 00:13:19,900
que recibira seran
completamente multi-direccionales.
142
00:13:52,820 --> 00:13:57,980
I think that Barcelona
was important for two reasons.
143
00:13:57,980 --> 00:14:00,100
The first, something more academic.
144
00:14:01,540 --> 00:14:04,660
On the other side,
you have the people of Barcelona
145
00:14:04,660 --> 00:14:10,700
and those exotic subjects,
like prostitutes or local people.
146
00:14:10,700 --> 00:14:13,340
And I think that Pablo in Barcelona
147
00:14:13,340 --> 00:14:17,860
discovered how wide was the scope
to see through the people.
148
00:14:17,860 --> 00:14:22,420
And of course, Barcelona
was offering a lot of inspiration.
149
00:14:28,780 --> 00:14:32,260
Quan Picasso es comenca a moure
en el mon alternatiu,
150
00:14:32,260 --> 00:14:35,140
en els bars
i els cafes de Barcelona,
151
00:14:35,140 --> 00:14:39,820
en un primer moment ell es relaciona
amb una generacio d'artistes joves
152
00:14:39,820 --> 00:14:41,540
que encara no han adquirit
153
00:14:41,540 --> 00:14:44,100
un estatus important
en el mon artistic.
154
00:14:45,580 --> 00:14:47,460
Picasso es un jove artista
155
00:14:47,460 --> 00:14:50,860
qui encara esta intentant navegar
el mon artistic
156
00:14:50,860 --> 00:14:55,100
pero a poc a poc s'anira relacionant
157
00:14:55,100 --> 00:14:57,660
amb els grans representants
de l'art catala,
158
00:14:57,660 --> 00:14:59,500
que son artistes
que en aquest primer moment
159
00:14:59,500 --> 00:15:01,620
no tenen contacte amb Picasso.
160
00:15:03,220 --> 00:15:10,220
He, as a teenager, gets very much
involved with a group of artists
161
00:15:10,220 --> 00:15:15,900
around the cafe of Els Quatre Gats,
who were politically involved,
162
00:15:15,900 --> 00:15:22,580
because they were sympathisers of
anarchism and Catalan nationalism.
163
00:15:23,740 --> 00:15:25,940
He must have been stricken
164
00:15:25,940 --> 00:15:30,580
by this very lively community
of young artists.
165
00:15:34,660 --> 00:15:39,340
Cuando empieza a frecuentar Quatre
Gats, Picasso va a conocer a Casas,
166
00:15:39,340 --> 00:15:42,100
a Ramon Casas, y a Santiago Rusinol.
167
00:15:45,860 --> 00:15:48,500
Estos no van a tener solamente
influencia en su arte,
168
00:15:48,500 --> 00:15:51,460
sino tambien en su forma de ver.
169
00:15:51,460 --> 00:15:53,100
Que es un artista?
170
00:15:54,300 --> 00:15:57,580
Casas y Rusinol se habian ido
muy jovenes a Paris,
171
00:15:57,580 --> 00:16:01,540
habian vivido la vida bohemia
y tomaban morfina,
172
00:16:01,540 --> 00:16:03,740
era una serie de
personajes muy diferentes
173
00:16:03,740 --> 00:16:06,660
a lo que era el padre
que era muy convencional.
174
00:16:10,020 --> 00:16:13,460
Entonces, en este momento,
cuando Picasso empieza a abrirse
175
00:16:13,460 --> 00:16:16,020
y es cuando empieza a pensar
un poco en Paris.
176
00:16:16,020 --> 00:16:18,820
Es en Barcelona,
a traves de este contacto
177
00:16:18,820 --> 00:16:23,420
con sus companeros un poco mayores
que ellos, que le hablan de Paris,
178
00:16:23,420 --> 00:16:25,860
de todas las maravillas
que hay en Paris.
179
00:16:58,380 --> 00:17:02,380
Tenemos este maravilloso retrato
del ano 1900,
180
00:17:02,380 --> 00:17:04,820
que es cuando Picasso esta ocupando
181
00:17:04,820 --> 00:17:09,140
el estudio de Calle Riera de San
Juan junto con su amigo Casagemas.
182
00:17:13,980 --> 00:17:18,420
En esta obra vemos que Picasso
ya ha cambiado plenamente de estilo
183
00:17:18,420 --> 00:17:21,620
con lo que esta haciendo
en el momento anterior.
184
00:17:23,420 --> 00:17:27,820
La hermana, Lola, habia sido
una de sus primeros modelos.
185
00:17:27,820 --> 00:17:29,340
Esta obra es muy peculiar
186
00:17:29,340 --> 00:17:35,260
porque vemos que aparece Lola sin
rostro, pero es un efecto optico.
187
00:17:35,260 --> 00:17:39,660
Si abrimos una ventana
por el que entra el sol a raudales
188
00:17:39,660 --> 00:17:44,220
y nosotros estamos en la penumbra,
nuestros rasgos no se aprecian, no?
189
00:17:44,220 --> 00:17:47,420
Como Picasso es un pintor
fundamentalmente realista,
190
00:17:47,420 --> 00:17:50,420
el esta tratando
tal como ve a su hermana.
191
00:17:53,340 --> 00:17:55,260
Lo mas importante de esta obra
192
00:17:55,260 --> 00:17:59,020
es que es uno de los pocos cuadros
de los talleres de Picasso.
193
00:17:59,020 --> 00:18:02,340
Picasso tiene muchos talleres,
tambien aqui en Barcelona,
194
00:18:02,340 --> 00:18:07,060
cambia mucho de taller y vemos unas
representaciones desde las ventanas
195
00:18:07,060 --> 00:18:09,860
y desde las terrazas
de estos talleres, los cerrados,
196
00:18:09,860 --> 00:18:11,180
del exterior...
197
00:18:13,820 --> 00:18:16,980
..de paisajes urbanos,
de los techos de Barcelona,
198
00:18:16,980 --> 00:18:20,660
estan hechos siempre desde
las ventanas de estos talleres.
199
00:18:20,660 --> 00:18:22,460
Pero es uno de los pocos
200
00:18:22,460 --> 00:18:26,860
que representa
el taller interior de Picasso.
201
00:18:26,860 --> 00:18:31,660
Y vemos aqui, en el suelo una serie
de tubos de pintura aplastados,
202
00:18:31,660 --> 00:18:36,940
que es un poco la reivindicacion de
que estamos en su taller de trabajo.
203
00:18:40,100 --> 00:18:43,020
En 1900 cuando pinta este retrato
tiene 18 anos,
204
00:18:43,020 --> 00:18:45,380
entonces,
es un chaval, un adolescente
205
00:18:45,380 --> 00:18:47,300
que esta abriendose al mundo,
206
00:18:47,300 --> 00:18:50,060
esta aprendiendo
y esta cogiendolo todo.
207
00:18:50,060 --> 00:18:53,500
Esta busqueda de color,
esta busqueda de libertad,
208
00:18:53,500 --> 00:18:55,900
esta busqueda de
la explosion de la vida.
209
00:19:03,620 --> 00:19:08,580
Picasso first went to Paris
in the autumn of 1900
210
00:19:08,580 --> 00:19:12,820
because one of his paintings
had been accepted
211
00:19:12,820 --> 00:19:16,460
at the Universal Exhibition
of that year,
212
00:19:16,460 --> 00:19:19,420
which was
the largest ever organised.
213
00:19:19,420 --> 00:19:23,260
It was, of course,
a huge opportunity for him
214
00:19:23,260 --> 00:19:28,180
to finally experience the big city
everybody was talking about.
215
00:19:35,740 --> 00:19:39,340
MAN: Pablo and I go to
cafe-concerts or the theatre.
216
00:19:39,340 --> 00:19:42,180
They think
they're doing Spanish dances,
217
00:19:42,180 --> 00:19:47,420
ole ole, caramba, caramba, which
left us in doubt about our origins.
218
00:19:48,900 --> 00:19:52,620
The Boulevard de Clichy
is full of crazy places.
219
00:19:52,620 --> 00:19:58,300
Everything is fanfare, tinsel, and
papier-mache stuffed with sawdust.
220
00:19:58,300 --> 00:20:00,820
Tell our friends to come to Paris,
221
00:20:00,820 --> 00:20:04,580
because there's room for everybody
and money for anyone who works.
222
00:20:04,580 --> 00:20:08,780
Rob, kill, assassinate,
do anything to come.
223
00:20:08,780 --> 00:20:10,740
Carles Casagemas.
224
00:20:12,660 --> 00:20:16,340
En 1900, il fait son premier voyage
en France, a Paris.
225
00:20:16,340 --> 00:20:20,140
Il va faire beaucoup
d'allers-retours entre 1900 et 1904,
226
00:20:20,140 --> 00:20:23,860
et il va choisir de s'installer
definitivement a Paris en 1904.
227
00:20:25,060 --> 00:20:28,020
Et Montmartre, en fait,
est une colonie espagnole.
228
00:20:28,020 --> 00:20:30,140
Il y a enormement
d'artistes espagnols a Paris.
229
00:20:31,220 --> 00:20:36,340
Et Picasso lui-meme s'est defini
comme un exile espagnol a Paris.
230
00:20:36,340 --> 00:20:40,580
Donc il y a cette double culture qui
va toujours persister chez Picasso.
231
00:20:40,580 --> 00:20:43,460
Il restera toujours espagnol,
et en meme temps,
232
00:20:43,460 --> 00:20:47,260
il va evidemment se nourrir,
pas seulement de l'art parisien,
233
00:20:47,260 --> 00:20:49,740
mais de toute
la production d'avant-garde
234
00:20:49,740 --> 00:20:52,380
qui va se derouler
dans la capitale francaise.
235
00:20:53,540 --> 00:20:56,660
Quand il arrive a Paris,
il ne parle pas francais.
236
00:20:56,660 --> 00:20:59,940
Donc il est toujours
avec ses compatriotes espagnols,
237
00:20:59,940 --> 00:21:03,060
et dans cette periode-la,
il signe sur ses carnets,
238
00:21:03,060 --> 00:21:06,020
"Yo, Picasso", "moi, Picasso".
239
00:21:06,020 --> 00:21:09,340
C'est deja une declaration, en fait.
240
00:21:09,340 --> 00:21:10,620
Et qui, du coup,
241
00:21:10,620 --> 00:21:13,300
va faire aussi cette identite
particuliere de Picasso,
242
00:21:13,300 --> 00:21:16,780
qui se positionne d'emblee
comme quelqu'un qui veut conquerir
243
00:21:16,780 --> 00:21:18,620
la scene artistique parisienne.
244
00:21:22,620 --> 00:21:26,180
MAN:
We've already launched into work.
245
00:21:26,180 --> 00:21:29,860
Tomorrow we'll light the heater,
and we'll have to work furiously.
246
00:21:29,860 --> 00:21:34,020
Whenever there is daylight, we are
in the studio painting and drawing.
247
00:21:39,020 --> 00:21:44,500
We all got together at Petit-Pousset
and we all got drunk.
248
00:21:44,500 --> 00:21:50,420
Utrillo wrote nursery rhymes,
Peio sang bawdy songs in Latin,
249
00:21:50,420 --> 00:21:55,180
Picasso made sketches of people,
and I wrote verses.
250
00:21:55,180 --> 00:21:57,500
Carles Casagemas.
251
00:21:58,780 --> 00:22:01,180
Lo que pasa en Paris basicamente
252
00:22:01,180 --> 00:22:05,060
es que se le multiplican
los referentes.
253
00:22:05,060 --> 00:22:10,780
Por ejemplo, la gran influencia
que tuvo en 1900
254
00:22:10,780 --> 00:22:13,020
es sobre todo Toulouse Lautrec,
255
00:22:13,020 --> 00:22:16,580
pues el pudo ir a Moulin Rouge
o a Moulin de la Galette,
256
00:22:16,580 --> 00:22:21,260
son espacios que el conocia
solo a traves de publicaciones
257
00:22:21,260 --> 00:22:24,940
o a traves de la memoria oral
de otros artistas.
258
00:22:26,980 --> 00:22:29,260
Por tanto,
ese Picasso que va a Paris
259
00:22:29,260 --> 00:22:33,500
es un artista
que cambia completamente.
260
00:22:41,260 --> 00:22:45,180
MAN: If you were to see us,
you wouldn't recognise us,
261
00:22:45,180 --> 00:22:48,620
because we've finally become
such hard workers.
262
00:22:48,620 --> 00:22:52,460
All this about women must seem
to take all our strength, but no!
263
00:22:52,460 --> 00:22:55,700
Not only
do we spend our lives "fondling",
264
00:22:55,700 --> 00:22:58,220
but I've almost finished a painting,
265
00:22:58,220 --> 00:23:01,580
and, to be frank,
I think I've just about sold it.
266
00:23:01,580 --> 00:23:06,460
Because of this, we are saying
goodbye to the bachelor life...
267
00:23:06,460 --> 00:23:08,780
As of today,
we are going to bed at 10:00,
268
00:23:08,780 --> 00:23:10,500
and we're not going out any more.
269
00:23:12,180 --> 00:23:13,700
Pablo Picasso.
270
00:23:16,420 --> 00:23:21,900
The nightlife was much more exciting
than Barcelona.
271
00:23:21,900 --> 00:23:27,860
Revues, music halls,
cabarets, Pigalle, Moulin Rouge.
272
00:23:27,860 --> 00:23:30,380
You can see it in the artworks.
273
00:23:30,380 --> 00:23:34,140
Pablo moved from
the individual human figures
274
00:23:34,140 --> 00:23:36,500
of poor people, of prostitutes,
275
00:23:36,500 --> 00:23:40,140
to a crowd of rich people
enjoying themselves,
276
00:23:40,140 --> 00:23:44,180
spending money, with
beautiful women, beautiful dresses.
277
00:23:44,180 --> 00:23:46,620
This is Paris in 1900.
278
00:23:46,620 --> 00:23:51,620
I can understand that Pablo would
have walked to Paris to see that.
279
00:23:51,620 --> 00:23:54,580
And there were rumours
that in Paris, in Montmartre,
280
00:23:54,580 --> 00:23:57,820
the collectors and art dealers
were attracted
281
00:23:57,820 --> 00:24:00,260
by new artists
and new forms of creation.
282
00:24:14,260 --> 00:24:17,980
En el Museo Picasso de Barcelona
tenemos mucha suerte,
283
00:24:17,980 --> 00:24:20,860
porque podemos ver
la evolucion de Picasso...
284
00:24:20,860 --> 00:24:23,460
Y realmente podemos ver este salto
285
00:24:23,460 --> 00:24:26,220
que va a hacer en Paris
a partir de 1900.
286
00:24:27,540 --> 00:24:30,940
Picasso realiza su primer viaje
con su amigo Casagemas
287
00:24:30,940 --> 00:24:34,940
y, luego,
se le uniran Pallares y Casas,
288
00:24:34,940 --> 00:24:38,380
en septiembre de 1900
y va a estar cuatro meses.
289
00:24:38,380 --> 00:24:42,140
Picasso va a volver a Espana,
va a estar unos meses en Espana...
290
00:24:42,140 --> 00:24:45,020
para regresar
en 1901 en el mes de mayo,
291
00:24:45,020 --> 00:24:48,820
con motivo de su primera exposicion
en la capital francesa.
292
00:24:50,100 --> 00:24:53,140
Es una exposicion
que lo organiza Pere Manach,
293
00:24:53,140 --> 00:24:58,460
que era un joven marchante catalan
que Picasso conocio en Paris en 1900
294
00:24:58,460 --> 00:25:01,300
y le habia organizado esta
exposicion en la Galeria Vollard,
295
00:25:01,300 --> 00:25:03,460
la importante Galeria Vollard.
296
00:25:03,460 --> 00:25:05,340
Esta es una obra muy importante,
297
00:25:05,340 --> 00:25:07,940
porque vemos
como Picasso ya ha absorbido
298
00:25:07,940 --> 00:25:10,820
todos los estilos artisticos
que se habian desarrollado
299
00:25:10,820 --> 00:25:12,780
unos anos antes en Paris,
300
00:25:12,780 --> 00:25:17,100
como, por ejemplo, vemos que coge
la tematica de Toulouse Lautrec...
301
00:25:18,300 --> 00:25:20,340
..coge la pincelada de Van Gogh,
302
00:25:20,340 --> 00:25:23,380
esa pincelada gruesa y corta,
que es de Van Gogh,
303
00:25:23,380 --> 00:25:29,860
pero coge los colores
de los otros impresionistas...
304
00:25:29,860 --> 00:25:32,380
..vemos este conjunto de influencias
305
00:25:32,380 --> 00:25:35,700
que Picasso absorbe
para luego hacer su propio arte.
306
00:25:47,060 --> 00:25:48,860
When they came to Paris,
307
00:25:48,860 --> 00:25:52,500
there was a big excitement
of visiting a new place
308
00:25:52,500 --> 00:25:56,580
with new girls, with
a world of entertainment, in fact.
309
00:25:56,580 --> 00:26:00,740
But Casagemas had
a natural problem of impotence...
310
00:26:01,940 --> 00:26:05,180
..so his attraction to women
was limited.
311
00:26:05,180 --> 00:26:07,580
Of course,
Pablo didn't have the same problem.
312
00:26:09,060 --> 00:26:12,100
They meet this girl, Germaine.
313
00:26:12,100 --> 00:26:16,420
And Casagemas is in love with her,
and Pablo is getting her.
314
00:26:16,420 --> 00:26:19,220
And of course,
Casagemas was devastated.
315
00:26:30,460 --> 00:26:32,980
When we think about
the drama of the death of Casagemas,
316
00:26:32,980 --> 00:26:35,460
you have to understand
the circumstances.
317
00:26:40,020 --> 00:26:43,780
It was in a cafe.
Germaine was seated with friends
318
00:26:43,780 --> 00:26:46,740
and suddenly, Casagemas came to her.
319
00:26:48,060 --> 00:26:51,860
He had a revolver and told her,
"This is for you,"
320
00:26:51,860 --> 00:26:54,620
and he shot at her.
321
00:26:54,620 --> 00:26:56,300
But he missed her.
322
00:26:56,300 --> 00:27:01,020
He didn't realise, because
she fainted and fell on the floor.
323
00:27:01,020 --> 00:27:05,340
Then he said, "This is for me,"
and he killed himself.
324
00:27:11,420 --> 00:27:14,500
When you imagine
that Pablo wasn't there,
325
00:27:14,500 --> 00:27:16,020
it's extremely painful to imagine,
326
00:27:16,020 --> 00:27:20,260
but he had to face
the death of his friend
327
00:27:20,260 --> 00:27:23,420
and to think that he was maybe
the reason of his death.
328
00:27:23,420 --> 00:27:29,700
So the Blue Period was fuelled
with this tragic moment.
329
00:27:29,700 --> 00:27:31,900
I think that, for Pablo,
330
00:27:31,900 --> 00:27:37,060
it was a struggle to try to survive
the death of his friend.
331
00:27:37,060 --> 00:27:41,540
The one he came to Paris with
and the one who never came back.
332
00:28:04,420 --> 00:28:05,900
MAN: It was while thinking
333
00:28:05,900 --> 00:28:09,860
that Casagemas was dead
that began me painting in blue.
334
00:28:16,060 --> 00:28:19,060
I'm showing what
I'm doing to the artists here,
335
00:28:19,060 --> 00:28:21,620
but they think
there's too much soul and no form.
336
00:28:21,620 --> 00:28:22,940
It's very funny.
337
00:28:22,940 --> 00:28:25,980
You know how to talk
to people like that,
338
00:28:25,980 --> 00:28:32,060
but they write very bad books
and they paint idiotic pictures.
339
00:28:32,060 --> 00:28:34,100
That's life.
340
00:28:34,100 --> 00:28:35,540
Pablo Picasso.
341
00:28:38,420 --> 00:28:41,380
La raison pour laquelle
Picasso cree, a cette epoque,
342
00:28:41,380 --> 00:28:45,380
la periode bleue,
je pense qu'il se cherche.
343
00:28:45,380 --> 00:28:47,980
Il se cherche
une identite artistique.
344
00:28:47,980 --> 00:28:51,540
Il cherche ce que lui a a dire
en tant qu'artiste.
345
00:28:51,540 --> 00:28:54,580
Et ce traitement tres monochrome
de la periode bleue
346
00:28:54,580 --> 00:28:56,820
est une des premieres manifestations
347
00:28:56,820 --> 00:28:59,220
de cette identite artistique
de Picasso.
348
00:29:02,980 --> 00:29:08,060
Lo que se conoce como periodo azul
canonicamente empieza en Paris
349
00:29:08,060 --> 00:29:10,100
al finales de en 1901
350
00:29:10,100 --> 00:29:13,620
pero basicamente se desarrolla
en Barcelona
351
00:29:13,620 --> 00:29:16,020
durante los anos siguientes.
352
00:29:16,020 --> 00:29:19,140
Con escenarios
del centro de Barcelona
353
00:29:19,140 --> 00:29:22,540
donde aparecen
muchas de las personas
354
00:29:22,540 --> 00:29:25,020
que vemos en
las pinturas de Picasso.
355
00:29:27,180 --> 00:29:28,860
Se encuentra con una ciudad,
356
00:29:28,860 --> 00:29:32,100
que crea como todas
las grandes ciudades industriales,
357
00:29:32,100 --> 00:29:34,380
grandes bolsas tambien
de marginacion.
358
00:29:35,620 --> 00:29:37,060
En cierta manera se forman
359
00:29:37,060 --> 00:29:41,020
unos contrastes
a nivel social extraordinarios.
360
00:29:42,460 --> 00:29:47,180
Se contrasten le da a Picasso
unos inputs extraordinarios
361
00:29:47,180 --> 00:29:50,460
desde el punto de vista creativos.
362
00:29:50,460 --> 00:29:54,860
Todo lo veremos en diferentes
momentos de la creacion picassiana
363
00:29:54,860 --> 00:29:57,060
pero muy especialmente
en la epoca azul.
364
00:30:05,420 --> 00:30:09,420
Hay los retratos que pertenecen
a personalidades reales,
365
00:30:09,420 --> 00:30:16,380
amigos del propio artista que son
perfectamente identificable...
366
00:30:16,380 --> 00:30:19,460
y hay otros basicamente
personajes femeninos
367
00:30:19,460 --> 00:30:21,500
de clase social baja, pobres,
368
00:30:21,500 --> 00:30:25,940
que muchos de ellos en realidad
pienso son mas bien sublimaciones,
369
00:30:25,940 --> 00:30:29,060
recreaciones de
posibles personajes reales.
370
00:30:29,060 --> 00:30:33,260
No estamos hablando
tanto de personas que existen
371
00:30:33,260 --> 00:30:35,140
sino casi de conceptos.
372
00:30:36,500 --> 00:30:41,860
A Picasso no le interesa
tanto retratar a una mujer pobre
373
00:30:41,860 --> 00:30:45,540
como retratar
el concepto de pobreza.
374
00:30:45,540 --> 00:30:49,460
Por tanto, digamos la epoca azul
si es cierto que hay
375
00:30:49,460 --> 00:30:54,300
una vinculacion, un sustrato real
de los personajes,
376
00:30:54,300 --> 00:30:57,500
pero tiene una gran carga simbolica.
377
00:30:57,500 --> 00:30:59,820
Es una obra muy simbolista
de Picasso.
378
00:31:13,140 --> 00:31:18,940
Picasso is special, in that
he reinterprets his sources
379
00:31:18,940 --> 00:31:21,140
in a very personal way.
380
00:31:21,140 --> 00:31:25,900
La Vie, of 1903, is the masterpiece
of Picasso's Blue Period
381
00:31:25,900 --> 00:31:30,900
that was painted in Barcelona,
but very much thinking back
382
00:31:30,900 --> 00:31:36,140
to the experience of Paris
with his friend, Carlos Casagemas.
383
00:31:36,140 --> 00:31:41,140
It's an allegory
of both life and love,
384
00:31:41,140 --> 00:31:44,060
and in many ways, of an artist,
385
00:31:44,060 --> 00:31:45,940
like Picasso's, coming of age.
386
00:32:05,420 --> 00:32:09,660
In 1904, Picasso moved
into a ramshackle building that,
387
00:32:09,660 --> 00:32:13,500
on multiple floors,
housed numerous artists and writers.
388
00:32:13,500 --> 00:32:15,540
This was known as the Bateau-Lavoir,
389
00:32:15,540 --> 00:32:17,700
as it reminded some
of the laundry boats
390
00:32:17,700 --> 00:32:19,700
that were docked on the River Seine.
391
00:32:21,500 --> 00:32:24,580
This was to be Picasso's home
for five years,
392
00:32:24,580 --> 00:32:29,700
and it was also where he would have
his first significant relationship.
393
00:32:29,700 --> 00:32:34,900
Picasso met Fernande Olivier,
who was a married artist's model,
394
00:32:34,900 --> 00:32:40,100
soon after he moved into the
Bateau-Lavoir in the spring of 1904.
395
00:32:40,100 --> 00:32:43,860
And she would be the muse
of some key moments
396
00:32:43,860 --> 00:32:47,900
in the young Picasso's
artistic development.
397
00:32:47,900 --> 00:32:50,700
Her real name was Amelie Lang.
398
00:32:50,700 --> 00:32:53,940
And they entered into
a kind of relationship
399
00:32:53,940 --> 00:32:56,820
which was
both artistic and personal.
400
00:32:56,820 --> 00:33:01,900
I think that Fernande
was a classical muse in a way,
401
00:33:01,900 --> 00:33:04,740
but also, she was open
to any kind of creativity.
402
00:33:04,740 --> 00:33:07,860
And this was very important.
403
00:33:07,860 --> 00:33:10,660
She said that he was very jealous,
404
00:33:10,660 --> 00:33:15,140
locking her up and being after her
in a very jealous way.
405
00:33:21,220 --> 00:33:24,420
WOMAN: The Spanish painter is often
in front of the door to the building
406
00:33:24,420 --> 00:33:27,540
with his noisy gang
of Spanish artists.
407
00:33:27,540 --> 00:33:32,020
I couldn't resist his magnetism,
and went with him to his studio.
408
00:33:33,620 --> 00:33:36,660
It was full of large,
unfinished canvases.
409
00:33:36,660 --> 00:33:39,300
He must work so hard,
but what a mess!
410
00:33:40,500 --> 00:33:44,460
Dear God,
his paintings are astonishing.
411
00:33:44,460 --> 00:33:48,140
I find something morbid in them,
which is quite disturbing,
412
00:33:48,140 --> 00:33:50,820
but I also feel drawn to them.
413
00:33:51,980 --> 00:33:53,740
Fernande Olivier.
414
00:33:59,500 --> 00:34:05,780
Podia ser muy extrovertido,
muy divertido, muy amable,
415
00:34:05,780 --> 00:34:10,420
y en seguida cambiaba su caracter
y se volvia mas cerrado,
416
00:34:10,420 --> 00:34:12,220
mas introspectivo.
417
00:34:12,220 --> 00:34:16,180
Pero al mismo tiempo
tambien era muy profesional.
418
00:34:16,180 --> 00:34:19,500
Picasso le gustaba trabajar
por la tarde
419
00:34:19,500 --> 00:34:23,540
y por la noche hasta muy tarde,
dormir por la manana
420
00:34:23,540 --> 00:34:25,740
y continuar toda la tarde trabajando
421
00:34:25,740 --> 00:34:27,940
y toda la noche hasta
las cuatro o cinco de la manana
422
00:34:27,940 --> 00:34:30,820
en que tenia
la tranquilidad necesaria
423
00:34:30,820 --> 00:34:33,660
para crear
sin que nadie le molestase.
424
00:34:33,660 --> 00:34:38,700
Ese modus operandi lo mantendra
durante toda su vida.
425
00:34:49,380 --> 00:34:51,740
MAN: You already know
how lonely I am,
426
00:34:51,740 --> 00:34:54,180
always in the middle of a commotion
427
00:34:54,180 --> 00:34:58,140
and in the midst of a crowd,
which irritates me...
428
00:34:58,140 --> 00:35:01,620
but I'm forced to deal with them
because of interest and necessity.
429
00:35:01,620 --> 00:35:05,140
One has to eat...
but if it were only that!
430
00:35:05,140 --> 00:35:07,540
When you have to arrange things
with other people
431
00:35:07,540 --> 00:35:09,740
and when you want to do something,
432
00:35:09,740 --> 00:35:12,660
it's terrible to be obliged
to waste so much time,
433
00:35:12,660 --> 00:35:15,500
sometimes scrounging
for the last peseta
434
00:35:15,500 --> 00:35:17,700
to pay for
the studio or restaurant,
435
00:35:17,700 --> 00:35:21,940
and believe me, all those struggles
and all this trouble isn't worth it,
436
00:35:21,940 --> 00:35:24,260
it's wasted time.
437
00:35:24,260 --> 00:35:25,700
Pablo Picasso.
438
00:35:35,140 --> 00:35:37,900
On peut regarder, en effet,
le Nu Assis de 1905,
439
00:35:37,900 --> 00:35:40,820
qui est un portrait feminin, nu,
d'une femme assise,
440
00:35:40,820 --> 00:35:43,220
qui est vraiment a la jonction,
justement,
441
00:35:43,220 --> 00:35:45,420
entre cette periode bleue
et cette periode rose,
442
00:35:45,420 --> 00:35:47,620
et dans laquelle on voit tres bien
la transition
443
00:35:47,620 --> 00:35:53,020
et le processus creatif dans lequel
Picasso est implique cette annee-la.
444
00:35:54,460 --> 00:35:57,580
On est devant
un portrait tres melancolique.
445
00:35:57,580 --> 00:36:00,860
Dans l'elongation des membres
et dans le cote monochrome du fond,
446
00:36:00,860 --> 00:36:02,420
en tout cas la partie superieure,
447
00:36:02,420 --> 00:36:05,140
on est dans la periode bleue
completement.
448
00:36:06,540 --> 00:36:08,980
Et dans le travail des ocres,
449
00:36:08,980 --> 00:36:11,940
et puis dans cette reintroduction
de la couleur,
450
00:36:11,940 --> 00:36:13,940
on est deja vers la periode rose.
451
00:36:21,740 --> 00:36:26,580
Quand on parle de la periode "rose"
de maniere assez impropre,
452
00:36:26,580 --> 00:36:28,780
puisqu'en effet,
il y a tres peu de rose,
453
00:36:28,780 --> 00:36:31,220
et surtout pour designer
en realite un cycle
454
00:36:31,220 --> 00:36:35,460
qui est beaucoup plus large,
qui est le cycle des saltimbanques,
455
00:36:35,460 --> 00:36:39,860
qui commence a la fin 1904 et
qui deborde un petit peu sur 1906.
456
00:37:02,020 --> 00:37:03,900
The key painting of the Pink Period
457
00:37:03,900 --> 00:37:08,180
is Family of Saltimbanques
of 1905,
458
00:37:08,180 --> 00:37:12,380
that represents
Picasso's love for the circus,
459
00:37:12,380 --> 00:37:14,860
which he used to attend in Paris,
460
00:37:14,860 --> 00:37:18,740
as well as his intimate life
of that period,
461
00:37:18,740 --> 00:37:23,260
by incorporating references
to his lover, Fernande Olivier,
462
00:37:23,260 --> 00:37:28,460
as well as to his great friend,
the poet Guillaume Apollinaire.
463
00:37:28,460 --> 00:37:32,020
And finally, Family of
Saltimbanques is very important,
464
00:37:32,020 --> 00:37:35,860
because we see Picasso
portraying himself as Harlequin,
465
00:37:35,860 --> 00:37:38,380
an apt alter-ego for Picasso,
466
00:37:38,380 --> 00:37:41,820
because
he's a figure of transformation,
467
00:37:41,820 --> 00:37:43,900
and someone who, out of rags,
468
00:37:43,900 --> 00:37:47,500
managed to create
a beautiful costume for himself.
469
00:38:07,420 --> 00:38:12,540
A l'ete 1906, Picasso part
en Espagne voir sa famille,
470
00:38:12,540 --> 00:38:15,740
et ensuite il poursuit son voyage
avec Fernande Olivier,
471
00:38:15,740 --> 00:38:17,660
sa compagne de l'epoque, a Gosol.
472
00:38:19,180 --> 00:38:22,700
Gosol, c'est un tout petit village
des Pyrenees catalanes,
473
00:38:22,700 --> 00:38:26,020
qui est vraiment perdu
au milieu de nulle part.
474
00:38:26,020 --> 00:38:29,780
On est au milieu
de la nature splendide,
475
00:38:29,780 --> 00:38:31,540
mais en meme temps, tres isole.
476
00:38:40,420 --> 00:38:42,380
Et c'est aussi un paysage
477
00:38:42,380 --> 00:38:46,620
fait de couleurs tres ochres,
tres seches, tres arides,
478
00:38:46,620 --> 00:38:49,220
qui a ce cote un peu sauvage,
en fait.
479
00:38:51,420 --> 00:38:55,660
On est dans une dimension
d'un retour aux sources,
480
00:38:55,660 --> 00:38:58,340
qui va correspondre aussi a ce que
cherche Picasso a ce moment-la.
481
00:39:06,660 --> 00:39:11,260
Il a deja vu la retrospective
Ingres du Salon d'automne de 1905.
482
00:39:12,460 --> 00:39:17,860
Il retravaille sur ces themes de
la coiffure, du harem, classiques.
483
00:39:17,860 --> 00:39:21,900
Et on sent un Picasso en recherche
de rencontres effectives,
484
00:39:21,900 --> 00:39:26,060
de sujets et de lieux avec
ce qu'il cherche dans son travail.
485
00:39:32,860 --> 00:39:35,940
Et on va voir une vraie
simplification de son travail,
486
00:39:35,940 --> 00:39:39,820
une simplification des formes,
une geometrisation des formes.
487
00:39:41,020 --> 00:39:44,500
Et on va voir ses visages
peu a peu se rigidifier
488
00:39:44,500 --> 00:39:47,980
et se transformer en ovales,
en ovales pleins,
489
00:39:47,980 --> 00:39:51,260
on sent aussi cette influence
de la sculpture,
490
00:39:51,260 --> 00:39:56,540
qui vont, de fil en aiguille,
revolutionner son langage plastique.
491
00:40:02,300 --> 00:40:06,100
After ten weeks, he and Fernande
headed back to Paris.
492
00:40:06,100 --> 00:40:10,020
It's tempting to over-simplify the
development of an artist's career,
493
00:40:10,020 --> 00:40:13,900
but there's no doubt that
those ten weeks spent in Gosol
494
00:40:13,900 --> 00:40:15,780
had been transformative.
495
00:40:15,780 --> 00:40:18,060
For Picasso now began preparations
496
00:40:18,060 --> 00:40:21,140
for one of the most significant
works of his youth,
497
00:40:21,140 --> 00:40:24,380
indeed one of the most significant
works of his life,
498
00:40:24,380 --> 00:40:26,100
Les Demoiselles d'Avignon.
499
00:40:45,540 --> 00:40:50,660
Pablo visited the Museum of Mankind
at Trocadero in Paris.
500
00:40:50,660 --> 00:40:53,340
He was a bit lost in this museum.
501
00:40:53,340 --> 00:40:57,340
In the dusty rooms, where
there were thousands of objects
502
00:40:57,340 --> 00:41:00,660
from the colonies,
especially from Africa.
503
00:41:00,660 --> 00:41:03,060
It is how he discovered the masks.
504
00:41:05,900 --> 00:41:10,380
MAN: A smell of mould and neglect
caught me by the throat.
505
00:41:10,380 --> 00:41:14,740
But I forced myself to stay,
to examine these masks,
506
00:41:14,740 --> 00:41:17,660
all these objects
that people had created
507
00:41:17,660 --> 00:41:19,980
with a sacred, magical purpose,
508
00:41:19,980 --> 00:41:23,940
to serve as intermediaries
between them and the unknown.
509
00:41:25,820 --> 00:41:28,900
And then I understood
what painting really meant.
510
00:41:28,900 --> 00:41:33,140
It's not an aesthetic process,
it's a form of magic
511
00:41:33,140 --> 00:41:38,140
that interposes itself
between us and the hostile universe,
512
00:41:38,140 --> 00:41:42,740
a means of seizing power
by imposing a form on our terrors
513
00:41:42,740 --> 00:41:44,860
as well as on our desires.
514
00:41:45,940 --> 00:41:49,780
The day I understood that,
I had found my path.
515
00:41:52,140 --> 00:41:55,500
He was impressed, because
he was trying to understand
516
00:41:55,500 --> 00:41:58,660
what the process was,
because it was frightening.
517
00:41:58,660 --> 00:42:01,860
At the same time,
it was like a kind of protection.
518
00:42:01,860 --> 00:42:05,300
And from that moment,
he started to observe
519
00:42:05,300 --> 00:42:09,980
what was the simplified
representation of the humankind.
520
00:42:09,980 --> 00:42:13,340
So it was a kind of exploration,
in this period,
521
00:42:13,340 --> 00:42:15,380
that we call Primitivism.
522
00:42:15,380 --> 00:42:18,220
Primitivism is very much to do with
523
00:42:18,220 --> 00:42:22,660
the encounter with non-Western art.
524
00:42:22,660 --> 00:42:28,300
It includes pre-Classical sculpture,
as well as so-called "tribal" arts.
525
00:42:28,300 --> 00:42:30,380
And all of these examples
provided artists
526
00:42:30,380 --> 00:42:31,860
And all of these examples
527
00:42:31,860 --> 00:42:35,540
with a different approach
to representation
528
00:42:35,540 --> 00:42:40,140
from the one they had learned
through academic training.
529
00:43:06,980 --> 00:43:13,820
At this moment in Picasso's career,
he is really out to do nothing less
530
00:43:13,820 --> 00:43:18,220
than reinvent
the history of western painting
531
00:43:18,220 --> 00:43:22,260
in his own
aggressively confrontational,
532
00:43:22,260 --> 00:43:27,020
stylistically disjunctive,
provocative terms.
533
00:43:27,020 --> 00:43:29,380
We know he put a lot of time
into planning this work.
534
00:43:29,380 --> 00:43:34,820
We can just see from the size of it
that it is of tremendous ambition,
535
00:43:34,820 --> 00:43:39,540
and I think he was intent
on making people stand back and say:
536
00:43:39,540 --> 00:43:42,260
"I've never seen
a painting like this before."
537
00:43:43,420 --> 00:43:46,340
Les Demoiselles d'Avignon
538
00:43:46,340 --> 00:43:52,180
started as a narrative scene
set in a brothel, of two men,
539
00:43:52,180 --> 00:43:58,940
a sailor and a medical student,
surrounded by five prostitutes.
540
00:43:58,940 --> 00:44:02,660
And in time it became
a very iconic image
541
00:44:02,660 --> 00:44:04,780
of five female nudes.
542
00:44:07,340 --> 00:44:11,300
This is a picture
with a particular erotic charge
543
00:44:11,300 --> 00:44:16,180
that certainly has to do with
the putative brothel scenario.
544
00:44:17,300 --> 00:44:20,940
One of the things I always notice
when I look at this work
545
00:44:20,940 --> 00:44:25,100
is the way that each one of those
figures locks eyes with us.
546
00:44:26,220 --> 00:44:28,900
The title of this painting
is extremely confusing,
547
00:44:28,900 --> 00:44:32,140
because first,
we speak about demoiselles,
548
00:44:32,140 --> 00:44:34,020
when they are prostitutes,
549
00:44:34,020 --> 00:44:36,980
and we say Avignon, which is a
little town in the south of France.
550
00:44:36,980 --> 00:44:41,900
But you have to refer to
the Carrer d'Avinyo in Barcelona,
551
00:44:41,900 --> 00:44:45,420
which was the street
of the brothels and bars.
552
00:44:49,020 --> 00:44:52,060
En el origen mismo
del titulo de la obra
553
00:44:52,060 --> 00:44:54,340
y de cierta iconografia de la obra,
554
00:44:54,340 --> 00:44:59,740
esta en las visitas que Picasso hizo
a burdeles de Barcelona.
555
00:44:59,740 --> 00:45:04,260
En cierta manera es toda una
iconografia realizada en Francia
556
00:45:04,260 --> 00:45:07,180
pero que toma de referencia
momentos de su juventud
557
00:45:07,180 --> 00:45:10,780
relacionados con el momento
iniciatico de la entrada de un joven
558
00:45:10,780 --> 00:45:13,260
como Picasso en los burdeles.
559
00:45:15,620 --> 00:45:19,460
Ce que Picasso va reussir
a faire entre, on va dire,
560
00:45:19,460 --> 00:45:21,820
ces 14 ans et 1907,
561
00:45:21,820 --> 00:45:24,540
c'est en effet une revolution,
562
00:45:24,540 --> 00:45:27,820
un changement de point de vue
sur la representation.
563
00:45:27,820 --> 00:45:31,420
Les Demoiselles d'Avignon
sont a l'origine
564
00:45:31,420 --> 00:45:35,660
de ce qui va devenir le cubisme,
cette maniere de representer
565
00:45:35,660 --> 00:45:39,140
le monde de plusieurs points de vue,
un seul plan.
566
00:45:40,420 --> 00:45:45,100
Du cubisme puisqu'il est amene
a recomposer intellectuellement
567
00:45:45,100 --> 00:45:49,660
la complexite d'un objet
dont on sait bien qu'il ne peut pas,
568
00:45:49,660 --> 00:45:52,700
en tant que structure
tridimensionnelle,
569
00:45:52,700 --> 00:45:56,700
se retrouver de maniere exacte
sur une surface plane.
570
00:45:56,700 --> 00:45:59,100
Et ca, c'est une vraie revolution.
571
00:46:00,420 --> 00:46:04,860
It's very interesting
that in the space of ten years,
572
00:46:04,860 --> 00:46:09,100
attitudes to the whole issue
of Primitivism in art,
573
00:46:09,100 --> 00:46:12,700
and also to Les Demoiselles,
changed quite radically.
574
00:46:12,700 --> 00:46:17,940
When Picasso first showed
Les Demoiselles to his friends,
575
00:46:17,940 --> 00:46:21,580
they reacted
very strongly and very negatively,
576
00:46:21,580 --> 00:46:24,340
considering it a complete failure.
577
00:46:24,340 --> 00:46:26,260
Andre Derain even said
578
00:46:26,260 --> 00:46:31,380
that one day they will find
Picasso hanging behind the painting.
579
00:46:31,380 --> 00:46:35,780
The legend is that
everybody was shocked and appalled,
580
00:46:35,780 --> 00:46:38,380
but I think
when you really begin to look at
581
00:46:38,380 --> 00:46:42,820
the literature and the commentary,
that the responses were more mixed.
582
00:46:42,820 --> 00:46:45,980
I think what is, it seems to me,
very true,
583
00:46:45,980 --> 00:46:52,260
is that this was a picture that
surprised, and shocked, and upset.
584
00:46:52,260 --> 00:46:54,540
But that isn't necessarily
a pejorative thing,
585
00:46:54,540 --> 00:46:56,020
that's a great thing.
586
00:46:56,020 --> 00:47:00,420
It's a cause for argument,
and debate, and dissent.
587
00:47:00,420 --> 00:47:02,700
Then, in the '30s,
it comes to New York,
588
00:47:02,700 --> 00:47:05,660
and it is acquired
by the Museum of Modern Art,
589
00:47:05,660 --> 00:47:09,300
and it's included
in the first big exhibition
590
00:47:09,300 --> 00:47:12,140
MoMA did in 1939 of Picasso's work.
591
00:47:12,140 --> 00:47:15,740
And I imagine
it's been on our walls ever since.
592
00:47:18,620 --> 00:47:21,140
Picasso es un artista de referencia,
593
00:47:21,140 --> 00:47:25,380
aun hoy despues de tantos anos de su
muerte, sigue siendo una referencia,
594
00:47:25,380 --> 00:47:28,500
no solo para los estudiosos sino
tambien para los propios artistas.
595
00:47:30,580 --> 00:47:32,980
El gran artista famoso en su vida
596
00:47:32,980 --> 00:47:38,660
que es capaz de jugar con los medios
de comunicacion a su alcance...
597
00:47:38,660 --> 00:47:43,860
que es capaz de durante
todo su recorrido vital y artistico
598
00:47:43,860 --> 00:47:48,580
de estar siempre en
un nivel altisimo y de referencia.
599
00:47:51,540 --> 00:47:54,780
Desde luego hay una cosa
que es muy importante
600
00:47:54,780 --> 00:47:59,660
y es que Picasso no se canso nunca
de experimentar.
601
00:48:00,940 --> 00:48:04,580
Que era un hombre que estaba,
yo diria,
602
00:48:04,580 --> 00:48:07,580
un poco a disgusto con su obra,
603
00:48:07,580 --> 00:48:14,020
y que siempre intentaba
continuamente avanzar o especular
604
00:48:14,020 --> 00:48:16,020
sobre otros temas.
605
00:48:20,820 --> 00:48:25,820
Creo que vive de frustracion
que es lo que hacia Picasso,
606
00:48:25,820 --> 00:48:30,060
no estar nunca de acuerdo
consigo mismo.
607
00:48:30,060 --> 00:48:33,740
Por eso tenemos esa cantidad
tan grande,
608
00:48:33,740 --> 00:48:38,660
tan ingente de ceramicas, de
grabados, de dibujos, de oleos.
609
00:48:38,660 --> 00:48:41,620
Yo personalmente calculo
unos 50,000.
610
00:48:53,540 --> 00:48:57,340
Todo un mundo y todo un universo,
611
00:48:57,340 --> 00:49:00,660
que nos ha llegado para comprender
el siglo viente,
612
00:49:00,660 --> 00:49:02,140
que el siglo viente,
613
00:49:02,140 --> 00:49:07,020
al fin y al cabo, Picasso es el
resumen de todo ese siglo pasado.
614
00:49:13,260 --> 00:49:15,940
Subtitles by TVT
53399
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.
Afrikaans
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bengali
Bosnian
Bulgarian
Catalan
Cebuano
Chichewa
Chinese (Simplified)
Chinese (Traditional)
Corsican
Croatian
Czech
Danish
Dutch
English
Esperanto
Estonian
Finnish
French
Frisian
Galician
Georgian
German
Greek
Gujarati
Haitian Creole
Hawaiian
Hungarian
Icelandic
Indonesian
Irish
Italian
Japanese
Kazakh
Khmer
Korean
Kurdish (Kurmanji)
Kyrgyz
Lao
Latvian
Lithuanian
Luxembourgish
Macedonian
Malagasy
Malay
Maltese
Maori
Mongolian
Myanmar (Burmese)
Nepali
Norwegian
Pashto
Polish
Portuguese
Romanian
Russian
Samoan
Serbian
Sesotho
Shona
Sinhala
Slovak
Slovenian
Somali
Spanish
Swahili
Swedish
Tajik
Thai
Ukrainian
Urdu
Uzbek
Vietnamese
