Читаем The Success and Failure of Picasso полностью

The Success and Failure of Picasso

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.

Джон Берджер

Критика18+
<p>John Berger</p><empty-line></empty-line><p>The Success and Failure of Picasso</p>

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.

<p>~ ~ ~</p>

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.

<p><strong>ILLUSTRATIONS</strong></p>

a. Picasso: Self-Portrait, autumn 1906 (Musée Picasso, Paris)

1 Château de Boisgeloup, Normandy

2 Picasso and Françoise Gilot at Golfe Juan, 1948 (photo: Robert Capa)

3 Picasso: An Old Man, 1895 (private collection)

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: Head of a Horse, 1937 (on extended loan to the Museum of Modern Art, New York, from the artist)

10 Rubens: Christ Crucified Between Two Thieves, 1620 (Antwerp)

11 Picasso: Portrait of Artist’s Father, 1895

12 Picasso: Portrait of Artist’s Mother, 1895

13 Picasso: The Coiffure, 1954 (Rosengart collection)

14 Picasso: Jacqueline with Black Scarf, 1954 (private collection)

15 Picasso: Seated Woman, 1955 (Rosengart collection)

16 Braque: Studio, VIII, 1954–55 (Douglas Cooper collection)

17 Braque: The Bird and Its Nest, 1955–56

18 Picasso: Self-Portrait, 1901 (private collection)

19 Picasso: The Frugal Meal, 1904

20 Picasso: Clown with a Glass (self-portrait), 1905 (private collection)

21 Picasso: Family of Saltimbanques, 1905 (National Gallery of Art, Washington, D.C., Chester Dale collection)

22 Picasso: Acrobat’s Family with Ape, 1905 (Gothenburg Art Gallery)

23 Picasso: Still-life with Chair-caning, 1912 (private collection)

24 Fra Angelico: The Vocation of St Nicholas (detail), 1437 (Vatican Museum)

25 Picasso: The Fruit-dish, 1912 (private collection)

26 Courbet: Les Demoiselles des bords de la Seine, 1856 (Petit Palais, Paris)

27 Courbet: The Pond, 1860s (Kunsthistorisches Museum, Vienna)

28 Poussin: Orpheus and Eurydice, 1650 (Louvre, Paris)

29 Cézanne: Trees by the Water, 1900–04 (private collection)

30 Braque: Bottle, Glass, and Pipe, 1913 (Lady Hulton collection)

31 Picasso: Portrait of Monsieur Kahnweiler, 1910 (courtesy of the Art Institute of Chicago)

32 Gris: Portrait of Picasso, 1911–12 (courtesy of the Art Institute of Chicago. Gift of Leigh Block)

33 Robert Delaunay: The Eiffel Tower, 1910 (Guggenheim Museum, New York)

34 Roger de la Fresnaye: Conquest of the Air, 1913 (Museum of Modern Art, New York, Mrs Simon Guggenheim Fund)

35 Carlo Carra: The Funeral of the Anarchist Galli, 1911 (Museum of Modern Art, New York, Lillie P. Bliss Bequest)

36 Picasso: Les Demoiselles d’Avignon, 1907 (Museum of Modern Art, New York, Lillie P. Bliss Bequest)

37 Cézanne: Les Grandes Baigneuses, 1898–1906 (Philadelphia Museum of Art)

38 Picasso: Les Demoiselles d’Avignon, 1907 (Museum of Modern Art, New York, Lillie P. Bliss Bequest)

39 Braque: Nude, 1907–8 (Madame Cuttoli collection)

40 Picasso: Landscape with Bridge, 1908 (National Gallery, Prague)

41 Braque: Houses at Estaque, 1908 (Rupf Foundation, Berne)

42 Picasso: Girl with a Mandolin, 1910 (private collection, New York)

Перейти на страницу:

Похожие книги

Дальний остров
Дальний остров

Джонатан Франзен — популярный американский писатель, автор многочисленных книг и эссе. Его роман «Поправки» (2001) имел невероятный успех и завоевал национальную литературную премию «National Book Award» и награду «James Tait Black Memorial Prize». В 2002 году Франзен номинировался на Пулитцеровскую премию. Второй бестселлер Франзена «Свобода» (2011) критики почти единогласно провозгласили первым большим романом XXI века, достойным ответом литературы на вызов 11 сентября и возвращением надежды на то, что жанр романа не умер. Значительное место в творчестве писателя занимают также эссе и мемуары. В книге «Дальний остров» представлены очерки, опубликованные Франзеном в период 2002–2011 гг. Эти тексты — своего рода апология чтения, размышления автора о месте литературы среди ценностей современного общества, а также яркие воспоминания детства и юности.

Джонатан Франзен

Публицистика / Критика / Документальное