Picasso 1932 – Love, Fame, Tragedy, Tate Modern (8th March – 9th September)
The subject of this exhibition is the influence of love, fame and tragedy on Picasso’s work over a one year period. This year long output is a rich visual diary which gives away a great deal about the artist; from his professional career, to the way he worked and his personal life. There are more the one hundred pieces of artwork, showing his entanglements with love and fame, his convolutions with colour and form, and his intricacies as the 20th century’s most influential artist.
Using this review, I am seeking to unpick how a highly accomplished artist approached and explored form, colour and space in his work with the intention of helping me in my journey as an artist.
The first room of this impressive exhibition starts in January and moves forward throughout a particularly special year in Picasso life. Most of the work is referenced to a single day in 1932. My first thoughts were how impressive his daily output was. It is hard to imagine working at such speed day after day and producing such high-quality work. Picasso made his paintings feel like a grand and confident experiment. He gave himself permission to trust his instincts and senses. Rather than using direct observation, he preferred to work from memory, focusing beyond what he could see. The result was an operation of his mind. Picasso said, “I paint objects as I think them, not as I see them.”
Picasso started each painting with a simple outline drawn on the canvas. The free and loose drawings of curves, contours and form feel as if they spring from discovery. They give his paintings a visual rhythm and a harmony of fragmented structures. The abstract shapes work independently but at the same time together, as they each have a direct impact on the next form. They all come together creating striking compositions, filled with movement.
In working this way, Picasso is always looking for a new way to read the world and express a new visual vocabulary. As my eyes wandered around his paintings l was amazed and intrigued by how effortless Picasso makes his beautiful pictures look. The colours and forms of the painting respond to each other.
Picasso was interested in colour and had the intention to outshine his closet friend and rival Matisse in all areas. After visiting ‘Matisse: The Cut-Out’, in 2014, and comparing the two artists work, in my view it is clear that Matisse had the upper hand when it came to colour. Picasso often used a joyful palette to create a warm and expressive ambience and at times with paintings like, ‘Seated Woman by a Window’,1932, Picasso’s use of colour creates dynamic energy and audacity of simplicity. But to me, colour came second in Picasso work. It is not a fundamental part of his work; instead, it is often an afterthought.
Picasso creative genius lays not in the use of colour as an integral part of his work, but in his ability to understand and manipulate form. Picasso could view structure from multiple directions, clearly shown in his cubist work, and combine these many viewpoints. In capturing three-dimensional forms, in two-dimensional drawings, paintings and in his sculpture, Picasso clearly shows a highly advanced genius. His creative talent and mastery are distinctly evident in the subtleties of his advanced spatial awareness. Picasso plainly indicates he has the self-belief and confidence to push this as the dominant theme in his work and this is where he can outperform his friends and rivals.
I found the exhibition and following one year in the life of Picasso immensely successful. It enabled me to consider what was going on in many parts of his life and how through evident self-confidence in his own abilities he was able to handle all that life threw at him. This exhibition will have a significant impact on my work. I see similarities in Picasso’s processes and topics that I can learn from. I think the biggest take away for me from this exhibition is Picasso self-belief and confidence and how prolific and dedicated he was to his work. Picasso’s bristling energy unquestionably comes through.
From the radical simplification of a form, you can see the building blocks of abstraction. He uses his artistic skills to the full to capture three-dimensional understanding. Each shape seems to be the product of another shape. Picasso said, “Cubism is neither a seed nor a foetus, but an art dealing primarily with forms, and when a form is reloaded it is there to live its own life.”