Presentation of Picasso’s paintings

Let’s celebrate the Paris exhibition of Picasso’s works. The artist tried his hand at representation inspired by the composition Las Meninas. It seemed to us that he agreed more with the prehistoric miniaturists than with the drawing of Velázquez’s morphology. In this manifestation, mostly linen and stains, it was manifested from a unique style to Picasso’s conformative skill. Certain typological inspirations of classical origin were reflected through lyrical illustration. The painter headed towards the Mediterranean springboard of Barcelona to get hold of Paris.

Pablo Ruiz Picasso Set up a low or blue awning in the Primorsky Alps. Furgou on popular ceramics with an archaic flavor. The exhibition in question was created on the basis of recorded or lithographed testimonies. Ou sexa, locked in relief or in bone. Ortega’s circumstance restored the power of application to the painter who made the most of his wealth. Owing to the fact that he had gone, or to his accommodation in Paris, I felt encouraged during the first twenty years of the last century. He didn’t worry about his life and could childishly allow himself to caress the green bottle against his face.

There is no doubt that Picasso was interested in two of his young problems of the most different and demanding kinds. It remains to resolve its complex aesthetic experiences. The flurry of personal acquaintances he encountered during his professional life reflects a certain confusion. This confusion prompted him to cut, or it could allow him to devote himself more to “his own thing”. The man from Malaga was an artist of great experience and extensive abilities. Or the work performed by the relevant extraordinarily disgusting. During Picasso’s rehearsals, we can hear a spontaneous, natural gift. A gift fueled by constant life, which represented an enigmatic attraction in Pablo Picasso’s final, decisive phase.

Almost everyone from the qualified non-artistic procedures is featured in the exhibit that motivates this gloss. Nelas appreciated the picturesqueness that the author possessed. We, the more chromatic or less nuanced elites, could evaluate it from an apparent, effective success, to a disturbing, recursive, formalistic, painterly, basically debutant curiosity. To appreciate this extraordinary quality, it would be appropriate not to confuse the sense of appreciation with that which precedes conventional didactics, which is therefore variable. No more and no less than your point of view more actuais. Also transitory, of limited intensity.

In the exhibited work that we will deal with, the picturesqueness that the painter possessed was revealed. We also smelled the curious recursive curiosity, formalistic, as we say, of the debutante artist. In short, Picasso amosou volntade de metamorfose, as a non-romantic, before the immorality of staleness and the blindness of anachronisms. We never understand why some cultured people would resent or mock a Picasso painting. While no one would dare to intervene without some preparation, without scientific discussion, everyone feels entitled to give their opinion on what art should be. But they all had stained eyes and did not smell. Above, they denied the value of those who possess that sixth sense.