At the height of his powers, Pablo Picasso was the artist as revolutionary, breaking through the niceties of form in order to mount a direct challenge to the values of his time. At the height of his fame, he was the artist as royalty: incalculably wealthy, universally idolized−and wholly isolated.In this stunning critical assessment, John Berger−one of this century's most insightful cultural historians−trains his penetrating gaze upon this most prodigious and enigmatic painter and on the Spanish landscape and very particular culture that shpaed his life and work. Writing with a novelist's sensuous evocation of character and detail, and drawing on an erudition that embraces history, politics, and art, Berger follows Picasso from his childhood in Malaga to the Blue Period and Cubism, from the creation of Guernica to the pained etchings of his final years. He gives us the full measure of Picasso's triumphs and an unsparing reckoning of their cost−in exile, in loneliness, and in a desolation that drove him, in his last works, into an old man's furious and desperate frenzy at the beauty of what he could no longer create.
Критика18+John Berger
The Success and Failure of Picasso
I dedicate this book to my Anya, to Ernst Fischer, and to the memory of Max Raphael,[1] a forgotten but great critic. The three of them persuaded me.
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I would like to acknowledge the help of Tony Richardson throughout all stages of the production of this book — and especially for all his work in the tracing and collecting of the plates.
J.B.
The publisher gratefully acknowledges the Artists Rights Society, Inc., for permission to reproduce the work of Pablo Picasso, Roger de la Fresnaye, Juan Gris, and Fernand Léger (all copyright ARS N.Y./SPADEM, 1988) and that of Georges Braque, Robert Delaunay, and Constantin Brancusi (copyright ARS N.Y./ADAGP, 1988). For their help in supplying specific photographs, we are indebted as follows: to Studio Alfieri for illustration 14; to Mariette Lachaud for 17; to the Arts Council for 18, 23, 42, 99, 100, and 106; to Giraudon for 52 and 66; to Éditions Cercle d’Art for 68; to Jean Mohr for 91; and to Galerie Louise Leiris for 103, 105, and 107–20. The remaining photographs have been obtained from the institutions and individuals acknowledged in the list of illustrations.
ILLUSTRATIONS
a. Picasso:
1 Château de Boisgeloup, Normandy
2 Picasso and Françoise Gilot at Golfe Juan, 1948 (photo: Robert Capa)
3 Picasso:
4 Spanish landscape (photo: Jean Mohr)
5 Spanish peasants harvesting peppers (photo: Jean Mohr)
6 Easter procession in Lorca (photo: Jean Mohr)
7 Spanish peasants returning from market (photo: Jean Mohr)
8 Barcelona, Las Ramblas (photo: Jean Mohr)
9 Picasso:
10 Rubens:
11 Picasso:
12 Picasso:
13 Picasso:
14 Picasso:
15 Picasso:
16 Braque:
17 Braque:
18 Picasso:
19 Picasso:
20 Picasso:
21 Picasso:
22 Picasso:
23 Picasso:
24 Fra Angelico:
25 Picasso:
26 Courbet:
27 Courbet:
28 Poussin:
29 Cézanne:
30 Braque:
31 Picasso:
32 Gris:
33 Robert Delaunay:
34 Roger de la Fresnaye:
35 Carlo Carra:
36 Picasso:
37 Cézanne:
38 Picasso:
39 Braque:
40 Picasso:
41 Braque:
42 Picasso: