Pablo Picassos Blue Period Style Was Influenced by the Parisian Avantgarde Art Scene and

The Blueish Period of Picasso is the period between 1900 and 1904, when he painted essentially monochromatic paintings in shades of blue and bluish-greenish, simply occasionally warmed past other colors. These somber works, inspired past Spain just painted in Paris, are at present some of his most popular works, although he had difficulty selling them at the fourth dimension. Picasso settled in Paris in 1904, having spent a few difficult years with no stock-still studio and picayune artistic success. While dorsum in 1903, he had produced his Bluish Menses works, which seemed to reverberate his experience of relative poverty and instability, depicting beggars, street urchins, the old and frail and the blind.

This period'due south starting point is uncertain; it may have begun in Spain in the bound of 1901, or in Paris in the 2nd one-half of the yr. In choosing ascetic color and sometimes doleful subject matter - prostitutes, beggars and drunks are frequent subjects - Picasso was influenced by a journey through Spain and by the suicide of his friend Carlos Casagemas, who took his life at the LHippodrome Cafe in Paris, France by shooting himself in the right temple on Feb 17, 1901. Although Picasso himself later recalled, "I started painting in blue when I learned of Casagemas'south expiry", art historian Helene Seckel has written: "While we might be correct to retain this psychologizing justification, we ought non lose sight of the chronology of events: Picasso was not there when Casagemas committed suicide in Paris ... it was but in the fall that this dramatic issue emerged in his painting, with several portraits of the deceased".

At this time Picasso was very open to artistic influences around him, and events of these years would have a major upshot on his: the exhibition of Fauve works, peculiarly those of Henri Matisse. Picasso responded to the new avant-grade developments of the Fauve painters in Paris by exploring new directions himself, creating his ground-breaking style.

Picasso's depression didn't end with the beginning of his rose period, which succeeded the blue menses and in which the color pink dominates in many of his paintings. In fact, it lasted until the cease of his cubist catamenia (which followed the rose period) and only in the menstruation thereafter, which was his neo-classicist period, did Picasso'south work begin the show the playfulness that would remain a prominent feature of his piece of work for the remainder of his life. Picasso's contemporaries didn't even distinguish betwixt a blue and a rose period but regarded the 2 every bit one single period.

Starting in the latter role of 1901 he painted several posthumous portraits of Casagemas, culminating in the gloomy emblematic painting La Vie, painted in 1903 and now in the Cleveland Museum of Art. The same mood pervades the well-known etching The Frugal Repast (1904), which depicts a blind human being and a sighted adult female, both emaciated, seated at a nearly bare tabular array. Blindness is a recurrent theme in Picasso's works of this catamenia, also represented in The Blindman's Meal (1903, the Metropolitan Museum of Art) and in the portrait of Celestina (1903). Other frequent subjects include female person nudes and mothers with children.

A pregnant influence on Picasso's bluish period paintings was his visit to a woman'southward prison called St. Lazare in Paris, where nuns served as guards. The Two sisters is an example of how Picasso used to mix daily reality with Christian iconography. The posture and gestures of the women were derived from the fashion artists depict the visitation, the color blue symbolizing Mary, the Female parent of God. The meeting, or visitation, refers to the meeting betwixt Mary, Mother of God and the female parent of John the Baptist.

An ever returning theme in Picasso's blue period (and too in his rose period) is the pathos of social outsiders, whether they be prisoners, beggars, circus people or poor or despairing people in general. Not only did this theme answer to his blue mood, merely it also answered to the zeitgeist (the spirit of the fourth dimension) of the artistic and intellectual advanced at the get-go of the twentieth century.

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Source: https://www.pablopicasso.org/blue-period.jsp

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