Word: tinterow
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...Woman, painted in Horta de Ebro of Picasso's lover Fernande. The drawing of crayon and guache shows a discernable change from Mill at Horta, painted in the same summer, as Picasso's style evolves into an increasingly geometrical and manipulative analysis of form. In the catalog, Tinterow explains the formal changes in Picasso's art during this intensely prolific summer. Another especially rich period well-represented is that of the early 1930s. The Studio of 1933 is an intriguing work that Tinterow says is related to Picasso's cubist works because it is a "juxtaposition of multiple states...
Although many exhibitions of Picasso's works have hung drawings, these pieces were always considered supportive of--or even subordinate to--his paintings. But Tinterow notes that "for Picasso, line was supreme," and his drawings, while crucial to the understanding of his overall work, are important as independent art, because there are entire themes and approaches that Picasso explored in his drawings that never appeared in his paintings. Tinterow also regards the drawings as important in the context of Picasso's work because "there is no clear stylistic line separating Picasso's drawings and paintings." Picasso...
...TINTEROW intends the exhibition to be a comprehensive yet selective representation of Picasso's best works, concentrating on his transitional and revolutionary phases: 1906-7, 1914, 1919, 1933, and his final years. But the Fogg puts these into context with works ranging from Picasso's earliest studies (drawn at age 13) to his self-portrait executed just months before his death...
...Tinterow hasn't included many studies in the exhibition, but he makes exceptions for the preliminary drawings of the blue-period masterpiece, La Vie (1903) and a transitional sequence of studies for the infamous Les Demoiselles d'Avignon (1906-7). The exhibition's strongest points are the works between around 1905 and 1920, especially the brush drawings that illustrate the emergence of cubism in the fall...
...throughout his life, Picasso drew and painted self-portraits, some more recognizable than others. Some have even contended that his minotaurs are self-portraits, but it is clear that the theme of his identity permeates all of his stylistic and other thematic changes. The last entry Tinterow makes in the catalogue and the last drawing in the chronology, is part of a series of self-portraits from the last year of his life, where Picasso "confronts" the concept of his own death by depicting himself in various ways. Here, the head is that of a skull, with sunken cheeks...