Woman in Red Armchair, Oil on canvas, 1929.
When you don’t have something that is what is everyone craves,
Then the trouble begins in waves.’
The clock loudly and soundly does tick
While you get tired sick.
You go do something that depends on others
Better do quick lest disagree your mothers.
Rhyme does you no then good,
Seems like that something is the only food.
The world beats around in their newly acquired fun
While you sit alone there, one and only one.
The clock loudly does tick
making you sick; really really sick
Tired of the fun, you go sit one,
While the music subsides and leaves you then,
With what you want.
The clock does tick,
Making you tired sick.
Oil on canvas (1970)
"Picasso's father took him to see his first bullfight in 1889, when he was eight years old. The spectacle made a deep impression on him, and he made it the subject of his very first painting that year. In 1934, he took up the bullfight as a theme, using it as a metaphor for life and death. Here, Picasso painted himself as a bullfighter with his usual passion for color and feverish strokes. Nearing 90, however, his stare has a tinge of world weariness."
Large Reclining Nude
Oil on canvas (1943)
When I See You
I have always walked forth, not wanting anything more than what I had already had. I did not need anything at all. I had scoffed at everyone when they said that my life was incomplete
That was till I had met you. You were the only one who had ever raised the feeling of loneliness in me. You were the only one who ever made me realize that my life was always incomplete; and had always been.
My heart had been always fluttering at the very sight of you. You had given me desires for the tastes that I had never known existed. My entire being had surrendered to you and your wishes the very first time we had met. My heart would skip beats when ever your proximity was precarious.
I would have gone to the ends of the world if it meant that I could have you here in my arms, in my heart till the entire eternity crumbled.
I wish you were here dear for I yearn for you. I would have left the very joys behind if it meant I could have you here, talking to me. Your breath is what interests me more than the very words.
Who are people in this equation? I see no one else save you, me and the endless love ahead. The air blows through my empty hands, and they ache with the soreness of the wind. My legs know no pain, My hands know no ache for they always wait for you, and you alone…
"The Weeping Woman series is regarded as a thematic continuation of the tragedy depicted in Picasso's epic painting Guernica. In focusing on the image of a woman crying, the artist was no longer painting the effects of the Spanish Civil War directly, but rather referring to a singular universal image of suffering."
Portrait of Dora “Weeping Woman” became a symbol of grief, pain and suffering. Everything in the painting is subordinated to this idea. Pablo always portrayed Dora with huge eyes, sad, pensive or weeping. He emphasized her delicate nervous system, clean face and long red nails. Dora Maar was Picasso's mistress from 1936 until 1944. In the course of their relationship, Picasso painted her in a number of guises, some realistic, some benign, others tortured or threatening. Picasso explained:
"For me she's the weeping woman. For years I've painted her in tortured forms, not through sadism, and not with pleasure, either; just obeying a vision that forced itself on me. It was the deep reality, not the superficial one."
"Dora, for me, was always a weeping woman....And it's important, because women are suffering machines"
Oil on canvas (1937)
"What would be the best way today to protest against a war? How could you influence the largest number of people? In 1937, Picasso expressed his outrage against war with Guernica, his enormous mural-sized painting displayed to millions of visitors at the Paris World’s Fair. It has since become the twentieth century’s most powerful indictment against war, a painting that still feels intensely relevant today."
"Much of the painting’s emotional power comes from its overwhelming size, approximately eleven feet tall and twenty five feet wide. Guernica is not a painting you observe with spatial detachment; it feels like it wraps around you, immerses you in its larger-than-life figures and action. And although the size and multiple figures reference the long tradition of European history paintings, this painting is different because it challenges rather than accepts the notion of war as heroic." Continued... Picasso, Guernica
Mother and Child
Oil on canvas, 1907.
"Motherhood takes an unusual turn in this painting, which followed the completion of the completion of Les Demoiselles d"Avignon. Vivid contrasting colors, stylized faces and coarse brushstrokes seem to defy the warmth and gentleness more commonly used to depict this subject. It is another signal of Picasso's decisive turn toward a strong and often startling visual language."