. The two figures on the right are the beginnings of Picasso's African period.]]

Picasso's African Period, which lasted from 1907 to 1909, was the period when Pablo Picasso painted in a style which was strongly influenced by African sculpture. This period, which followed his Blue Period and Rose Period, has also occasionally been called the Negro Period or Black Period.

In the early 20th century, African artifacts were being brought back to Paris museums in consequence of the expansion of the French empire into Africa. The press was abuzz with exaggerated stories of cannibalism and exotic tales about the African kingdom of Dahomey. The mistreatment of Africans in the Belgian Congo was exposed in Joseph Conrad's popular book Heart of Darkness. It was natural in this climate of African interest that Picasso would look towards African artifacts as inspiration for some of his work; his interest was sparked by Henri Matisse who showed him a mask from the Dan region of Africa.

In May or June 1907, Picasso experienced a "revelation" while viewing African art at the ethnographic museum at Palais du Trocadéro. Picasso's discovery of African art influenced the style of his painting Les Demoiselles d'Avignon (begun in May 1907 and reworked in July of that year), especially in the treatment of the two figures on the right side of the composition.

Although Les Demoiselles is seen as the first Cubist work, Picasso continued to develop a style derived from African art before beginning the Analytic Cubism phase of his painting in 1910. Other works of Picasso's African Period include the Bust of a Woman (1907, in the National Gallery, Prague); Mother and Child (Summer 1907, in the Musée Picasso, Paris); Nude with Raised Arms (1907, in the Thyssen-Bornemisza Museum, Lugano, Switzerland); and Three Woman (Summer 1908, in the Hermitage Museum, St. Petersburg).

Notes

References

Picasso, P., Rubin, W. S., & Fluegel, J. Pablo Picasso, a retrospective. New York: Museum of Modern Art, 1980. ISBN 0870705288

Rubin, W. S. "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern. New York: Museum of Modern Art, 1984. ISBN 0870705342

Howells, R. Visual Culture. Wiley-Blackwell, 2003. ISBN 074562412X

Category:Pablo Picasso

Playername	Pablo Ruiz
Fullname	Pablo Ruiz Barrero
Dateofbirth	February 25, 1981
Cityofbirth	Seville
Countryofbirth	Spain
Height
Currentclub	Cartagena
Clubnumber	24
Position	Centre back
Youthclubs1	Sevilla
Years1	2000–2005 | clubs1 = Sevilla B | caps1 = | goals1 =
Years2	2004–2006 | clubs2 = Sevilla | caps2 = 9 | goals2 = 0
Years3	2006–2007 | clubs3 = Murcia | caps3 = 25 | goals3 = 0
Years4	2007–2009 | clubs4 = Córdoba | caps4 = 50 | goals4 = 3
Years5	2009– | clubs5 = Cartagena | caps5 = 19 | goals5 = 0
Pcupdate	20 June 2010

Pablo Ruiz Barrero (born February 25, 1981 in Seville, Andalusia) is a Spanish footballer who plays for FC Cartagena, as a central defender.

External links

BDFutbol profile

Futbolme profile

Category:1981 births Category:Living people Category:People from Seville Category:Spanish footballers Category:Association football defenders Category:La Liga footballers Category:Sevilla FC footballers Category:Real Murcia footballers Category:Córdoba CF footballers Category:FC Cartagena footballers

Name	Pablo Picasso
Born	Malaga Spain
Caption	Pablo Picasso in 1962
Birthname	Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso
Birthdate	October 25, 1881
Birth place	Málaga, Spain
Deathdate	April 08, 1973
Deathplace	Mougins, France
Resting place	Chateau of Vauvenargues
Resting place coordinates
Nationality	Spanish
Field	Painting, Drawing, Sculpture, Printmaking, Ceramics
Training	José Ruiz y Blasco (father), Real Academia de Bellas Artes de San Fernando
Movement	Cubism
Works	Les Demoiselles d'Avignon (1907)Guernica (1937)The Weeping Woman (1937)

Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso known as Pablo Ruiz Picasso (; 25 October 1881 – 8 April 1973) was a Spanish painter, draughtsman, and sculptor who lived most of his adult life in France. He is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and Guernica (1937), his portrayal of the German bombing of Guernica during the Spanish Civil War.

Picasso demonstrated uncanny artistic talent in his early years, painting in a realistic manner through his childhood and adolescence; during the first decade of the 20th century his style changed as he experimented with different theories, techniques, and ideas. His revolutionary artistic accomplishments brought him universal renown and immense fortune throughout his life, making him one of the best-known figures in 20th century art.

Early life

Picasso was baptized Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Crispiniano de la Santísima Trinidad, a series of names honouring various saints and relatives. Added to these were Ruiz and Picasso, for his father and mother, respectively, as per Spanish law. Born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López. Picasso’s family was middle-class; his father was also a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts and a curator of a local museum. Ruiz’s ancestors were minor aristocrats. Picasso showed a passion and a skill for drawing from an early age; according to his mother, his first words were “piz, piz”, a shortening of lápiz, the Spanish word for ‘pencil’. From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was a traditional, academic artist and instructor who believed that proper training required disciplined copying of the masters, and drawing the human body from plaster casts and live models. His son became preoccupied with art to the detriment of his classwork.

The family moved to A Coruña in 1891 where his father became a professor at the School of Fine Arts. They stayed almost four years. On one occasion the father found his son painting over his unfinished sketch of a pigeon. Observing the precision of his son’s technique, Ruiz felt that the thirteen-year-old Picasso had surpassed him, and vowed to give up painting.

In 1895, Picasso's seven-year old sister, Conchita, died of diphtheria—a traumatic event in his life. After her death, the family moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home. Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, and the impressed jury admitted Picasso, who was 13. The student lacked discipline but made friendships that would affect him in later life. His father rented him a small room close to home so Picasso could work alone, yet Ruiz checked up on him numerous times a day, judging his son’s drawings. The two argued frequently.

Picasso’s father and uncle decided to send the young artist to Madrid’s Royal Academy of San Fernando, the country's foremost art school.]] After studying art in Madrid, Picasso made his first trip to Paris in 1900, then the art capital of Europe. There, he met his first Parisian friend, the journalist and poet Max Jacob, who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. During the first five months of 1901, Picasso lived in Madrid, where he and his anarchist friend Francisco de Asís Soler founded the magazine Arte Joven (Young Art), which published five issues. Soler solicited articles and Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathizing with the state of the poor. The first issue was published on 31 March 1901, by which time the artist had started to sign his work simply Picasso, while before he had signed Pablo Ruiz y Picasso.

By 1905 Picasso became a favorite of the American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein. Gertrude Stein became Picasso's principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905, he met Henri Matisse, who was to become a lifelong friend and rival. The Steins introduced him to Claribel Cone and her sister Etta who were American art collectors; they also began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became patrons of Matisse; while Gertrude Stein continued to collect Picasso. , 1910, The Art Institute of Chicago. Picasso wrote of Kahnweiler What would have become of us if Kahnweiler hadn't had a business sense?]] In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler. Kahnweiler was a German art historian, art collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Pablo Picasso, Georges Braque and Cubism. Kahnweiler championed burgeoning artists such as André Derain, Kees Van Dongen, Fernand Léger, Juan Gris, Maurice de Vlaminck and several others who had come from all over the globe to live and work in Montparnasse at the time.

In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry, and Gertrude Stein. Apollinaire was arrested on suspicion of stealing the Mona Lisa from the Louvre in 1911. Apollonaire pointed to his friend Picasso, who was also brought in for questioning, but both were later exonerated.

Personal life

In the early 20th century, Picasso divided his time between Barcelona and Paris. In 1904, in the middle of a storm, he met Fernande Olivier, a Bohemian artist who became his mistress. , c. 1920]]

After World War I, Picasso made a number of important relationships with figures associated with Serge Diaghilev's Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris and others. In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev’s troupe, for whom Picasso was designing a ballet, Parade, in Rome; and they spent their honeymoon in the villa near Biarritz of the glamorous Chilean art patron Eugenia Errázuriz. Khokhlova introduced Picasso to high society, formal dinner parties, and all the social niceties attendant on the life of the rich in 1920s Paris. The two had a son, Paulo, who would grow up to be a dissolute motorcycle racer and chauffeur to his father. Khokhlova’s insistence on social propriety clashed with Picasso’s bohemian tendencies and the two lived in a state of constant conflict. During the same period that Picasso collaborated with Diaghilev’s troup, he and Igor Stravinsky collaborated on Pulcinella in 1920. Picasso took the opportunity to make several drawings of the composer.

In 1927 Picasso met 17-year-old Marie-Thérèse Walter and began a secret affair with her. Picasso’s marriage to Khokhlova soon ended in separation rather than divorce, as French law required an even division of property in the case of divorce, and Picasso did not want Khokhlova to have half his wealth. The two remained legally married until Khokhlova’s death in 1955. Picasso carried on a long-standing affair with Marie-Thérèse Walter and fathered a daughter, Maia, with her. Marie-Thérèse lived in the vain hope that Picasso would one day marry her, and hanged herself four years after Picasso’s death. Throughout his life Picasso maintained a number of mistresses in addition to his wife or primary partner. Picasso was married twice and had four children by three women. , 1941]]

The photographer and painter Dora Maar was also a constant companion and lover of Picasso. The two were closest in the late 1930s and early 1940s and it was Maar who documented the painting of Guernica.

War years and beyond

During the Second World War, Picasso remained in Paris while the Germans occupied the city. Picasso’s artistic style did not fit the Nazi views of art, so he was not able to show his works during this time. Retreating to his studio, he continued to paint all the while, producing works such as the Still Life with Guitar (1942) and The Charnel House (1944–48). Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.

In 1944, after the liberation of Paris, Picasso started a new relationship with a young art student, named Françoise Gilot (born 1921) and who was 40 years younger than him. Having grown tired of his mistress Dora Maar, Picasso and Gilot began to live together. Eventually they had two children, Claude born in 1947 and Paloma born in 1949. His relationship with Gilot ended in 1953, when she and the children walked out on him. In her 1964 book Life with Picasso she explains the breakup as being because of abusive treatment and Picasso's infidelities. This came as a severe blow to Picasso.

After his relationship with Gilot fell apart, and she left; Picasso continued to have affairs with even younger women than Françoise. While still involved with Gilot in 1951 Picasso had a six-week affair with Geneviève Laporte (1926), who in June 2005 auctioned off drawings that Picasso made of her and gave to her as a gift. Eventually Picasso began to come to terms with his advancing age and his waning attraction to young women, by incorporating the idea into his new work; expressing the perception that, now in his 70s, he had become a grotesque and comic figure to young women. A number of works including paintings, ink drawings and prints from this period explore the theme of the hideous old dwarf as accompaniment to and doting lover of a beautiful young model. Jacqueline Roque (1927–1986) who worked at the Madoura Pottery in Vallauris on the French Riviera, where Picasso made and painted ceramics became his lover, and in 1961 his second wife. The two were together for the remainder of Picasso’s life. Gilot had been seeking a legal means to legitimize her children with Picasso and his marriage to Roque was also the means of Picasso's final act of revenge against Gilot. With Picasso’s encouragement, she had divorced her then husband, Luc Simon, with the plan to finally actually marry Picasso; securing her children’s rights as Picasso's legitimate heirs. However Picasso had already secretly married Roque after Gilot had filed for divorce. Denying Gilot, thus exacting his revenge for her walking out on him, and leaving his children Claude and Paloma estranged in their relationship with him.

Picasso had constructed a huge Gothic structure and could afford large villas in the south of France, at Notre-dame-de-vie on the outskirts of Mougins, in the Provence-Alpes-Côte d'Azur. By this time he was a celebrity, and there was often as much interest in his personal life as his art.

In addition to his manifold artistic accomplishments, Picasso had a film career, including a cameo appearance in Jean Cocteau’s Testament of Orpheus. Picasso always played himself in his film appearances. In 1955 he helped make the film Le Mystère Picasso (The Mystery of Picasso) directed by Henri-Georges Clouzot.

Death

Pablo Picasso died on 8 April 1973 in Mougins, France, while he and his wife Jacqueline entertained friends for dinner. His final words were “Drink to me, drink to my health, you know I can’t drink any more.” He was interred at the Chateau of Vauvenargues near Aix-en-Provence, a property he had acquired in 1958 and occupied with Jacqueline between 1959 and 1962. Jacqueline Roque prevented his children Claude and Paloma from attending the funeral. Devastated and lonely after the death of Picasso, Jacqueline Roque took her own life by gunshot in 1986 when she was 60 years old.

Children

Paulo (4 February 1921 – 5 June 1975) (Born Paul Joseph Picasso) — with Olga Khokhlova

Maya (5 September 1935 – ) (Born Maria de la Concepcion Picasso) — with Marie-Thérèse Walter

Claude (15 May 1947 –) (Born Claude Pierre Pablo Picasso) — with Françoise Gilot

Paloma (19 April 1949 – ) (Born Anne Paloma Picasso) — with Françoise Gilot

Political views

, 1951]] Picasso remained neutral during World War I, the Spanish Civil War, and World War II, refusing to fight for any side or country. As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either World War. In the Spanish Civil War, service for Spaniards living abroad was optional and would have involved a voluntary return to the country to join either side. While Picasso expressed anger and condemnation of Francisco Franco and fascists through his art, he did not take up arms against them. He also remained aloof from the Catalan independence movement during his youth despite expressing general support and being friendly with activists within it.

In 1944 Picasso joined the French Communist Party, attended an international peace conference in Poland, and in 1950 received the Lenin Peace Prize from the Soviet government. But party criticism of a portrait of Stalin as insufficiently realistic cooled Picasso’s interest in communist politics, though he remained a loyal member of the Communist Party until his death. In a 1945 interview with Jerome Seckler, Picasso stated: “I am a Communist and my painting is Communist painting. ... But if I were a shoemaker, Royalist or Communist or anything else, I would not necessarily hammer my shoes in a special way to show my politics.” His Communist militancy, not uncommon among intellectuals and artists at the time although it was officially banned in Francoist Spain, has long been the subject of some controversy; a notable source or demonstration thereof was a sarcastic quote commonly attributed to Salvador Dalí (with whom Picasso had a rather strained relationship), ostensibly casting doubt on the true honesty of his political allegiances: : Picasso es pintor, yo también; [...] Picasso es español, yo también; Picasso es comunista, yo tampoco. :(Picasso is a painter, so am I; [...] Picasso is a Spaniard, so am I; Picasso is a communist, neither am I.) According to Jean Cocteau's diaries, Picasso once said to him in reference to the communists: "I have joined a family, and like all families, it's full of shit".

He was against the intervention of the United Nations and the United States in the Korean War and he depicted it in Massacre in Korea. In 1962, he received the International Lenin Peace Prize.

Art

Picasso’s work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1905–1907), the African-influenced Period (1908–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919).

In 1939–40 the Museum of Modern Art in New York City, under its director Alfred Barr, a Picasso enthusiast, held a major and highly successful retrospective of his principal works up until that time. This exhibition lionized the artist, brought into full public view in America the scope of his artistry, and resulted in a reinterpretation of his work by contemporary art historians and scholars.

Before 1901

Picasso’s training under his father began before 1890. His progress can be traced in the collection of early works now held by the Museu Picasso in Barcelona, which provides one of the most comprehensive records extant of any major artist’s beginnings. During 1893 the juvenile quality of his earliest work falls away, and by 1894 his career as a painter can be said to have begun. The academic realism apparent in the works of the mid-1890s is well displayed in The First Communion (1896), a large composition that depicts his sister, Lola. In the same year, at the age of 14, he painted Portrait of Aunt Pepa, a vigorous and dramatic portrait that Juan-Eduardo Cirlot has called “without a doubt one of the greatest in the whole history of Spanish painting.”

In 1897 his realism became tinged with Symbolist influence, in a series of landscape paintings rendered in non naturalistic violet and green tones. What some call his Modernist period (1899–1900) followed. His exposure to the work of Rossetti, Steinlen, Toulouse-Lautrec and Edvard Munch, combined with his admiration for favorite old masters such as El Greco, led Picasso to a personal version of modernism in his works of this period.

Blue Period

Picasso’s Blue Period (1901–1904) consists of somber paintings rendered in shades of blue and blue-green, only occasionally warmed by other colors. This period’s starting point is uncertain; it may have begun in Spain in the spring of 1901, or in Paris in the second half of the year. Many paintings of gaunt mothers with children date from this period. In his austere use of color and sometimes doleful subject matter—prostitutes and beggars are frequent subjects—Picasso was influenced by a trip through Spain and by the suicide of his friend Carlos Casagemas. Starting in autumn of 1901 he painted several posthumous portraits of Casagemas, culminating in the gloomy allegorical painting La Vie (1903), now in the Cleveland Museum of Art.

The same mood pervades the well-known etching The Frugal Repast (1904), which depicts a blind man and a sighted woman, both emaciated, seated at a nearly bare table. Blindness is a recurrent theme in Picasso’s works of this period, also represented in The Blindman’s Meal (1903, the Metropolitan Museum of Art) and in the portrait of Celestina (1903). Other works include Portrait of Soler and Portrait of Suzanne Bloch‎.

Rose Period

, (Boy with a Pipe), 1905, Rose Period]] The Rose Period (1904–1906) is characterized by a more cheery style with orange and pink colors, and featuring many circus people, acrobats and harlequins known in France as saltimbanques. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso. Picasso met Fernande Olivier, a model for sculptors and artists, in Paris in 1904, and many of these paintings are influenced by his warm relationship with her, in addition to his increased exposure to French painting. The generally upbeat and optimistic mood of paintings in this period is reminiscent of the 1899–1901 period (i.e. just prior to the Blue Period) and 1904 can be considered a transition year between the two periods.

African-influenced Period

(1907), Museum of Modern Art, New York]] Picasso’s African-influenced Period (1907–1909) begins with the two figures on the right in his painting, Les Demoiselles d'Avignon, which were inspired by African artifacts. Formal ideas developed during this period lead directly into the Cubist period that follows.

Cubism

(1921), Museum of Modern Art]]

Analytic cubism (1909–1912) is a style of painting Picasso developed along with Georges Braque using monochrome brownish and neutral colors. Both artists took apart objects and “analyzed” them in terms of their shapes. Picasso and Braque’s paintings at this time have many similarities. Synthetic cubism (1912–1919) was a further development of the genre, in which cut paper fragments—often wallpaper or portions of newspaper pages—were pasted into compositions, marking the first use of collage in fine art.

Classicism and surrealism

In the period following the upheaval of World War I, Picasso produced work in a neoclassical style. This “return to order” is evident in the work of many European artists in the 1920s, including André Derain, Giorgio de Chirico, and the artists of the New Objectivity movement. Picasso’s paintings and drawings from this period frequently recall the work of Ingres.

During the 1930s, the minotaur replaced the harlequin as a common motif in his work. His use of the minotaur came partly from his contact with the surrealists, who often used it as their symbol, and it appears in Picasso’s Guernica. , 1937, Museo Reina Sofia]]

Arguably Picasso’s most famous work is his depiction of the German bombing of Guernica during the Spanish Civil War—Guernica. This large canvas embodies for many the inhumanity, brutality and hopelessness of war. Asked to explain its symbolism, Picasso said, “It isn’t up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them.”

Guernica hung in New York’s Museum of Modern Art for many years. In 1981 Guernica was returned to Spain and exhibited at the Casón del Buen Retiro. In 1992 the painting hung in Madrid’s Reina Sofía Museum when it opened.

Later works

a 50' high public Cubist sculpture. Donated by Picasso to the people of Chicago]] Picasso was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in mid-1949. In the 1950s, Picasso’s style changed once again, as he took to producing reinterpretations of the art of the great masters. He made a series of works based on Velazquez’s painting of Las Meninas. He also based paintings on works by Goya, Poussin, Manet, Courbet and Delacroix. He was commissioned to make a maquette for a huge -high public sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. What the figure represents is not known; it could be a bird, a horse, a woman or a totally abstract shape. The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the people of the city. - Tehran / Iran]] Picasso’s final works were a mixture of styles, his means of expression in constant flux until the end of his life. Devoting his full energies to his work, Picasso became more daring, his works more colorful and expressive, and from 1968 through 1971 he produced a torrent of paintings and hundreds of copperplate etchings. At the time these works were dismissed by most as pornographic fantasies of an impotent old man or the slapdash works of an artist who was past his prime. Only later, after Picasso’s death, when the rest of the art world had moved on from abstract expressionism, did the critical community come to see that Picasso had already discovered neo-expressionism and was, as so often before, ahead of his time.

Commemoration and legacy

Picasso was exceptionally prolific throughout his long lifetime. The total number of artworks he produced has been estimated at 50,000, comprising 1,885 paintings; 1,228 sculptures; 2,880 ceramics, roughly 12,000 drawings, many thousands of prints, and numerous tapestries and rugs. At the time of his death many of his paintings were in his possession, as he had kept off the art market what he did not need to sell. In addition, Picasso had a considerable collection of the work of other famous artists, some his contemporaries, such as Henri Matisse, with whom he had exchanged works. Since Picasso left no will, his death duties (estate tax) to the French state were paid in the form of his works and others from his collection. These works form the core of the immense and representative collection of the Musée Picasso in Paris. In 2003, relatives of Picasso inaugurated a museum dedicated to him in his birthplace, Málaga, Spain, the Museo Picasso Málaga.

The Museu Picasso in Barcelona features many of Picasso’s early works, created while he was living in Spain, including many rarely seen works which reveal Picasso’s firm grounding in classical techniques. The museum also holds many precise and detailed figure studies done in his youth under his father’s tutelage, as well as the extensive collection of Jaime Sabartés, Picasso’s close friend and personal secretary.

Several paintings by Picasso rank among the most expensive paintings in the world. Garçon à la pipe sold for US$104 million at Sotheby's on 4 May 2004, establishing a new price record. Dora Maar au Chat sold for US$95.2 million at Sotheby’s on 3 May 2006. On 4 May 2010, Nude, Green Leaves and Bust was sold at Christie's for $106.5 million. The 1932 work, which depicts Picasso's mistress Marie-Thérèse Walter reclining and as a bust, was in the personal collection of Los Angeles philanthropist Frances Lasker Brody, who died in November 2009. Christie's won the rights to auction the collection against London-based Sotheby's. The collection as a whole was valued at over $150 million, while the work was originally expected to earn $80 million at auction. There were more than half a dozen bidders, while the winning bid was taken via telephone. The previous auction record ($104.3 million) was set in February 2010, by Alberto Giacometti's Walking Man I.

As of 2004, Picasso remains the top ranked artist (based on sales of his works at auctions) according to the Art Market Trends report. More of his paintings have been stolen than those by any other artist; the Art Loss Register has 550 of his works listed as missing.

The Picasso Administration functions as his official Estate. The U.S. copyright representative for the Picasso Administration is the Artists Rights Society.

In the 1996 movie Surviving Picasso, Picasso is portrayed by actor Anthony Hopkins.

Between October 8, 2010 and January 9, 2011, an exhibition of 150 paintings, sculptures, drawings, prints and photographs from the Museé National Picasso in Paris will be on display at the Seattle Art Museum. From Feb 19, 2011 to May 15, 2011, the exhibition from the Museé National Picasso will move to Richmond, VA and be on display at the Virginia Museum of Fine Arts for its only appearance on the east coast of the United States.

See also

Pierre Le Guennec

Notes

References

Nill, Raymond M. “A Visual Guide to Pablo Picasso’s Works”. New York: B&H; Publishers, 1987.

External links

Biography and works of Pablo Picasso

Pablo Picasso — Biography, Quotes & Paintings, retrieved 14 June 2007.

Poems by Picasso in English translation from Samizdat

Cubism, The Big Picture

Artists Rights Society, Picasso's U.S. Copyright Representatives

Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Pablo Picasso. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California

Picasso: Drawing With Light - slideshow by Life magazine

Essays

Power and Tenderness in Men and in Picasso’s ‘Minotauromachy’ by Chaim Koppelman

Museums

, Paris, (Hotel Salé, 1659)]]

Guggenheim Museum Biography

Hilo Art Museum, (Hilo Hawaii, USA)

Honolulu Academy of Arts

Metropolitan Museum of Art (New York, USA)

Musée National Picasso (Paris, France)

Musée Picasso (Antibes, France)

Museo Picasso Málaga (Málaga, Spain)

Museu Picasso (Barcelona, Spain)

Museum Berggruen (Berlin, Germany)

Museum of Modern Art (MoMA) (New York, USA)

National Gallery of Art list of paintings

Graphikmuseum Pablo Picasso Münster (Münster, Germany)

Los Angeles County Museum of Art (LACMA) (Los Angeles, California)

Sammlung + Picasso Donation Rosengart (Lucerne, Switzerland)

Category:1881 births Category:1973 deaths Category:Ballet designers Category:Cubism Category:French Communist Party members Category:Spanish people Category:Lenin Peace Prize recipients Category:Modern painters * Category:People from Málaga (city) Category:People from Paris Category:Spanish communists Category:Spanish expatriates in France Category:Spanish painters Category:Spanish people of the Spanish Civil War Category:Spanish potters Category:Spanish sculptors *Pablo Picasso

Name	John Donne
Caption	John Donne
Birthdate	January 21, 1572
Birthplace	London, England
Deathdate	March 31, 1631
Occupation	Poet, Priest, Lawyer
Nationality	English
Genre	Satire, Love poetry, Elegy, Sermons
Subject	Love, sexuality, religion, death
Movement	Metaphysical Poetry
Influences	William Shakespeare
Influenced	W. B. Yeats, Ernest Hemingway, T. S. Eliot, Dylan Thomas, W. H. Auden}}

John Donne ( ; 21 January 1572 – 31 March 1631) was an English poet, preacher and a major representative of the metaphysical poets of the period. His works are notable for their realistic and sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially as compared to that of his contemporaries. John Donne's masculine, ingenious style is characterized by abrupt openings, paradoxes, dislocations, argumentative structure, and "conceits"--images which yoke things seemingly unlike. These features in combination with his frequent dramatic or everyday speech rhythms, his tense syntax, and his tough eloquence were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of British society and he met that knowledge with sharp criticism. Another important theme in Donne’s poetry was the idea of true religion, which was something that he spent a lot of time considering and theorizing about. He wrote secular poems as well as erotic poems and love poems. Donne is particularly famous for his mastery of metaphysical conceits.

Despite his great education and poetic talents, he lived in poverty for several years, relying heavily on wealthy friends. He spent much of the money he inherited during and after his education on womanising, literature, pastimes and travel. In 1601 Donne secretly married Anne Moore with whom he had 12 children. In 1615 he became an Anglican priest although he didn’t want to take Anglican orders, he did so because King James I persistently ordered it. In 1621, he was appointed the Dean of St Paul's Cathedral in London. He also served as a member of parliament in 1601 and again in 1614.

Early life

.]]

John Donne was born in London, England, into a Roman Catholic family at a time when open practice of that religion was illegal in England. Donne was the third of six children. His father, also named John Donne, was of Welsh descent, and a warden of the Ironmongers Company in the City of London. Donne's father was a respected Catholic who avoided unwelcome government attention out of fear of being persecuted for his religious faith.

Donne's father died in 1576, leaving his wife, Elizabeth Heywood, the responsibility of raising their children. This tradition of martyrdom would continue among Donne’s closer relatives, many of whom were executed or exiled for religious reasons. Donne was educated privately; however there is no evidence to support the popular claim that he was taught by Jesuits. Donne's mother married Dr. John Syminges, a wealthy widower with three children, a few months after Donne's father died. In 1577, his mother died, followed by two more of his sisters, Mary and Katherine, in 1581.

.]]

Donne was a student at Hart Hall, now Hertford College, Oxford, from the age of 11. After three years at Oxford he was admitted to the University of Cambridge, where he studied for another three years. He was unable to obtain a degree from either institution because of his Catholicism, since he could not take the Oath of Supremacy required of graduates. According to Izaak Walton, who wrote a biography of Donne in 1640: }}

By the age of 25 he was well prepared for the diplomatic career he appeared to be seeking. He was appointed chief secretary to the Lord Keeper of the Great Seal, Sir Thomas Egerton, and was established at Egerton’s London home, York House, Strand close to the Palace of Whitehall, then the most influential social centre in England.

Marriage to Anne More

During the next four years he fell in love with Egerton's niece Anne More, and they were married just before Christmas His wife died on 15 August 1617, five days after giving birth to their twelfth child, a still-born baby. Donne mourned her deeply, including writing the Holy Sonnet.

Donne's early career was also notable for his erotic poetry, especially his elegies, in which he employed unconventional metaphors, such as a flea biting two lovers being compared to sex. Donne did not publish these poems, although did allow them to circulate widely in manuscript form. He hung the portrait on his wall as a reminder of the transience of life.]]

Donne became a Royal Chaplain in late 1615, Reader of Divinity at Lincoln's Inn in 1616, and received a Doctor of Divinity degree from Cambridge University in 1618. later became well known for its phrase "for whom the bell tolls" and the statement that "no man is an island". In 1624 he became vicar of St Dunstan-in-the-West, and 1625 a Royal Chaplain to Charles I.

Death

It is thought that his final illness was stomach cancer, although this has not been proved. He died on 31 March 1631 having written many poems, most only in manuscript. Donne is buried in St Paul's Cathedral, where a memorial statue of him was erected (carved from a drawing of him in his shroud), with a Latin epigraph probably composed by himself.

Style

John Donne is the most undisputed leader of Metaphysical School of Poetry. John Donne was famous for his metaphysical poetry in the 17th century. His work suggests a healthy appetite for life and its pleasures, while also expressing deep emotion. He did this through the use of conceits, wit and intellect—as seen in the poems "" and "".

Donne is considered a master of the metaphysical conceit, an extended metaphor that combines two vastly different ideas into a single idea, often using imagery. An example of this is his equation of lovers with saints in "The Canonization". Unlike the conceits found in other Elizabethan poetry, most notably Petrarchan conceits, which formed clichéd comparisons between more closely related objects (such as a rose and love), metaphysical conceits go to a greater depth in comparing two completely unlike objects, although sometimes in the mode of Shakespeare's radical paradoxes and imploded contraries. One of the most famous of Donne's conceits is found in "" where he compares two lovers who are separated to the two legs of a compass.

Donne's works are also witty, employing paradoxes, puns, and subtle yet remarkable analogies. His pieces are often ironic and cynical, especially regarding love and human motives. Common subjects of Donne's poems are love (especially in his early life), death (especially after his wife's death), and religion. Donne is noted for his poetic metre, which was structured with changing and jagged rhythms that closely resemble casual speech (it was for this that the more classical-minded Ben Jonson commented that "Donne, for not keeping of accent, deserved hanging").

Legacy

John Donne is commemorated as a priest in the calendar of the Church of England and in the Calendar of Saints of the Evangelical Lutheran Church in America on 31 March.

Sylvia Plath, interviewed on BBC Radio in late 1962, said the following about a book review of her collection of poems titled The Colossus that had been published in the United Kingdom two years earlier: "I remember being appalled when someone criticized me for beginning just like John Donne but not quite managing to finish like John Donne, and I felt the weight of English literature on me at that point."

The memorial to John Donne, modelled after the engraving pictured above, was one of the few such memorials to survive the Great Fire of London in 1666 and now appears in St Paul's Cathedral, where Donne is buried.

Donne in literature

Donne has appeared in several works of literature:

A dying John Donne scholar is the main character of Margaret Edson's Pulitzer prize-winning play Wit (1999), which was made into the film Wit starring Emma Thompson.

Donne's Songs and Sonnets feature in The Calligrapher (2003), a novel by Edward Docx.

In the 2006 novel, The Meaning of Night by Michael Cox, Donne's works are frequently quoted.

John Donne appears, along with his wife Ann and daughter Pegge, in the award-winning novel Conceit (2007) by Mary Novik.

Joseph Brodsky has a poem called "Elegy for John Donne".

The love story of John Donne and Ann More is the subject of Maeve Haran's 2010 historical novel, "The Lady and the Poet."

Excerpt from "Meditation 17 Devotions Upon Emergent Occasions" serves as the opening for Ernest Hemingway's "For Whom The Bell Tolls".

Donne in pop culture and songs

Tarwater, in their album called Salon des Refusés, have put "The Relic" to song.

Children of Bodom, in the song "Follow the Reaper" reference John Donne's Holy Sonnet 10

Metallica in the song "For Whom the Bell Tolls" reference Meditation 17 from Devotions upon Emergent Occasions

Titus Andronicus, in their 2008 song "Albert Camus", quote from Donne's Holy Sonnet 10

Jethro Tull, in the song "Teacher" uses the line "No man is an Island" from Meditation 17 from Devotions upon Emergent Occasions

Bibliography

Poetry

Poems (1634)

Poems on Several Occasions (2001)

Love Poems (1905)

John Donne: Divine Poems (includes the Holy Sonnets), Sermons, Devotions and Prayers (1990)

The Complete English Poems (1991)

John Donne's Poetry (1991)

John Donne: The Major Works (2000)

The Complete Poetry and Selected Prose of John Donne (2001)

Prose

Six Sermons (1633)

Fifty Sermons (1649)

Paradoxes, Problemes, Essayes, Characters (1652)

Essayes in Divinity (1651)

Sermons Never Before Published (1661)

John Donne's 1622 Gunpowder Plot Sermon (1996)

Devotions Upon Emergent Occasions and Death's Duel (1999; first published in 1624)

Critical works

John Carey, John Donne: Life, Mind and Art, (London 1981)

A. L. Clements (ed.) John Donne's Poetry (New York and London, 1966)

Stevie Davies, John Donne (Northcote House, Plymouth, 1994)

T. S. Eliot, "The Metaphysical Poets", Selected Essays, (London 1969)

G. Hammond (ed.) The Metaphysical Poets: A Casebook, (London 1986)

Sir Geoffrey Keynes, Bibliography of Donne, (Cambridge, 1958)

George Klawitter, The Enigmatic Narrator: The Voicing of Same-Sex Love in the Poetry of John Donne (Peter Lang, 1994)

Arthur F. Marotti, John Donne, Coterie Poet, (Madison: University of Wisconsin Press, 1986)

H. L. Meakin, John Donne's Articulations of the Feminine, (Oxford, 1999)

Joe Nutt, John Donne: The Poems, (New York and London 1999)

E.M. Simpson, A Study of the Prose Works of John Donne, (Oxford, 1962)

C. L. Summers and T. L. Pebworth (eds.) The Eagle and the Dove: Reassessing John Donne (Columbia: University of Missouri Press, 1986)

John Stachniewski, The Persecutory Imagination, (Oxford, 1991)

Ceri Sullivan, The Rhetoric of the Conscience in Donne, Herbert, and Vaughan (Oxford 2008)

James Winny, A Preface to Donne (New York, 1981)

Francis William Teodoro, A New Tomorrow Needs Us

James Lyle Canda, Someone is Needing My Love

Pauline T.C Algas, Two Against My One Heart

See also

Cleanth Brooks. "The Language of Paradox", Literary Theory: An Anthology 2nd edition; Julie Rivkan, Michael Ryan (eds) pp. 28–39 (2004)

References

Bald, R. C. John Donne: A Life., Oxford, 1970

Le Comte, Edward. Grace to a Witty Sinner: A Life of Donne, (Walker, 1965)

Stubbs, John. Donne: The Reformed Soul, Viking, 2006. ISBN 0-670-91510-6

Lim, Kit. John Donne: An Eternity of Song, Penguin, 2005.

Warnke, Frank J. John Donne, (U of Mass., Amherst 1987)

Notes

External links

John Donne at archive.org

Selected works (audio recordings) at LibriVox.org

John Donne at Crossref-it.info

John Donne at Luminarium.org

Poems by John Donne at PoetryFoundation.org

The Literature Network

John Donne's Monument, St Paul's Cathedral

Homepage of the John Donne Society

Donne undone: Review of "John Donne: The Reformed Soul"(John Stubbs), Guardian Unlimited, 22 July 2006, by Andrew Motion.

Selected Poems of John Donne

Complete sermons of John Donne

John Donne: Sparknotes

The Donne Variorum

Digital Donne (digital images of early Donne editions and manuscripts)

Examples of John Donne's poetic forms

Category:1572 births Category:1631 deaths Category:People from the City of London Category:English Anglicans Category:Anglican poets Category:English Anglican priests Category:Converts to Anglicanism from Roman Catholicism Category:English poets Category:English songwriters Category:English translators Category:Alumni of Hart Hall, Oxford Category:Alumni of the University of Cambridge Category:Anglican saints Category:People celebrated in the Lutheran liturgical calendar Category:Members of the pre-1707 Parliament of England Category:Sonneteers Category:Deans of St Paul's Category:Anglo-Welsh poets