Picasso’s transcendence does not end in the founding of Cubism, a revolutionary trend that definitively broke with traditional representation by eliminating perspective and a single point of view. Throughout his long career, Pablo Picasso incessantly explored new paths and influenced all facets of 20th century art, embodying like no other the restlessness and receptivity of the contemporary artist.
Son of the artist José Ruiz Blasco, in 1895 he moved with his family to Barcelona, where the young painter surrounded himself with a group of artists and writers, including the painters Ramón Casas and Santiago Rusiñol, with whom he used to meet. at the Els Quatre Gats bar. Between 1901 and 1904, Pablo Picasso alternated his residence between Madrid, Barcelona and Paris, while his painting entered the stage called the blue period, strongly influenced by symbolism. In the spring of 1904, Picasso decided to move permanently to Paris and settle in a studio on the banks of the Seine.
At the end of 1906, Pablo Picasso began working on a large-format composition that would change the course of 20th century art: Les demoiselles d’Avignon. Numerous influences came together in this masterpiece, the main ones being African and Iberian art and elements taken from El Greco and Cézanne. Under the constant influence of the latter, and in the company of another young painter, Georges Braque, Pablo Picasso delved into a review of much of the plastic heritage in force since the Renaissance, especially in the field of pictorial representation of volume. The geometric plots eliminate spatial depth and introduce time as a dimension by simultaneously combining various points of view: it was the beginning of cubism.
In 1912 they introduced an element of flexibility in the form of paper cuts and other materials directly applied to the canvas, a technique they called collage. The admission into the exclusive circle of Cubism of the Spanish painter Juan Gris led to the synthetic stage of said style, marked by a richer chromatic range and material and referential multiplicity.
Between 1915 and the mid-1920s, Picasso abandoned the rigors of Cubism to enter a new figurative period, within the framework of a reunion between classicism and the growing influence of what the artist called his “”Mediterranean origins.”” He began to be interested in sculpture following his meeting in 1928 with the Catalan artist Julio González; Between them they introduced important innovations, such as the use of wrought iron.
The outbreak of the Spanish Civil War, a prelude to the Second World War, pushed him to greater political awareness, the result of which is one of his most universally admired works, the large mural Guernica (1937). The reduction to a minimum of the chromaticism, the disjointedness of the figures and their heartbreaking symbolism make up an impressive denunciation of the bombing by the German aircraft, which on April 26, 1937 devastated this Basque town in an action to support the troops of the coup general Francisco Frank.
In the 1950s he made numerous series on great classic works of painting, which he reinterpreted as a tribute. In 1960, already a legend in life and the epitome of the avant-garde, the artist retired to the Chateau de Vouvenargues, where the creator continued working tirelessly until the day of his death.