毕加索2

最难的一幅画这幅画作大家肯定熟识，它是挪威画家爱德华?蒙克的代表作，创作于1895年，该画作的构成特别简洁，血红色的天空下衬托着一个面部表情极其扭曲的人，透过画面，好像都能看到他的呼喊声。

2023年，《呼喊》以1.199亿美元的价格在纽约成交〔调整后价格：1.24亿美元，约合人民币8.6亿〕。

如今《呼喊》被网友们制作成了各种表情包，看着还挺“亲切”的。

第3名：《1948年第5号》〔No. 5, 1948〕《1948年第5号》的是美国行动绘画艺术的鼻祖杰克逊?波洛克，2023年11月，墨西哥金融大亨大卫?马丁内斯以1.4亿美元的价格拿下〔约合人民币9.8亿元〕。

我看了这幅画半天，也没看清它究竟画了个啥，不过专业人士发声了，他们表示该画作构成了“鸟巢状外观，看上去杂乱，其实内有章法，告知人们应当抵抗束缚，争取自由”。

第2名：《梦》〔Le Rêve〕这幅画的大家都很熟识，就是鼎鼎大名的毕加索，它被创作于1927年，当时47岁的毕加索正在和一位17岁的金发少女德蕾莎恋爱，对方在此期间内始终是毕加索的绘画和雕刻对象，可以说这是毕加索“用爱”画出来的作品。

专业人士认为《梦》是“形象极端自由性--线条和颜色自由组合的杰作”。

2023年，美国对冲基金经理史蒂文科恩以1.55亿美元〔约合人民币10.8亿元〕的价格从拉斯维加斯赌场一大亨的手里买走了《梦》。

第1名：《交换》〔Interchange〕这幅画可不得了，当年的成交价格打破了私人拍卖的最高纪录，拍卖价为3亿美元〔约合人民币21亿元〕，没错，就这幅由白色、红色、黄色等色块构成的抽象画，被人以21亿元的天价拿走了。

该画作创作于1955年，据说《交换》综合了德·库宁1940年月和1950年月的主题和技法，表达了活跃、自由、奔放的意思。

战争之罪——毕加索《格尔尼卡》赏析安吉天略外国语学校饶桢教学目标：1、知识与技能：通过欣赏，使学生了解作品中艺术语言与主题表达的关系，理解象征性和立体主义的艺术手法。

2、过程与方法：让学生在积极参与讨论、探究、体验的过程中，了解美术鉴赏的方法和程序，理解作品的意蕴。

3、情感态度与价值观：充分发挥学生的自主学习和探究的精神，培养正确的审美情趣和追求正义、热爱和平的情感。

教学重点：感受画家通过抽象的艺术语言所表达出的对法西斯暴行的愤怒之情。

教学难点：象征性与立体派的艺术表现手法在作品《格尔尼卡》中的具体运用。

课前准备：学生：A4纸、课本、铅笔等。

教师：自制课件、作业纸。

教学过程：一、情境导入，初步感知（5分钟）1、播放一段战争片段，引导学生仔细观看，思考：影片中哪些形象给你留下深刻印象？从中你感受到什么？2、交流：此时的心情？感受？印象深刻的形象？3、尝试表现：以影片中印象最深的形象为素材，用徒手画尝试勾画一个艺术形象，可作变形或夸张处理，不必画的太具体。

（时间：2分钟）4、出示一幅与战争有关的大师作品——《格尔尼卡》（不出示作者及作品名）5、提问：① 谁知道这幅画的作者？题目？（《格尔尼卡》毕加索1881—1973）（注：毕加索，现代西方20世纪最伟大的天才画家）② 第一次看到这幅画你有什么感受？（乱、看不懂、支离破碎、恐怖……）小结：刚才，大家都说的很好，都说出了自己的不同的感受。

其实，第一次看到这幅作品，老师也觉得“乱”，有点看不懂。

6、导入新课。

欣赏美术作品，感觉固然重要，但是有时候也要注意理性的分析和思考。

对于这幅画，我想大家头脑中一定有了很多的问号？今天这堂课，就让我们一起来解读这幅大师的作品。

出示课题：战争之罪——毕加索《格尔尼卡》赏析（板书：战争之罪）二、自主探究、描述作品（5分钟）1、首先请大家打开课本，自学课本P36-37，思考问题：⑴《格尔尼卡》是怎样诞生的？毕加索想表达什么？（控诉、愤慨、抗议、同情）⑵ 找一找画面中都有哪些形象？看谁找的多？（抱孩子的母亲、举灯的女人、倒地的战士、奔跑的人、呼救的人、马、牛、灯）2、思考：这些形象有什么特点？毕加索是怎样画的？（以“马头”、“牛头”、“人头”为例，从动作表情、象征意义上加以分析）马——仰头嘶鸣、痛苦——代表人民——象征手法，即用一种形象来代表某种事物牛头——面无表情、冷漠、龇牙咧嘴——象征法西斯的残暴与邪恶抱孩子的母亲——仰天痛哭、悲痛——象征战争中失去亲人的人（问题：你哭过么？像这位母亲这样哭过么？谁来表演一下，做个动作？从中可以看出母亲怎样的心情？——极度悲痛）3、学生质疑：通过刚才的自主探究、交流讨论，大家对《格尔尼卡》有了进一步了解，那么对于这幅作品你还有什么疑惑的？（如构图上、造型上、色彩上、表现手法上等）三、合作探究、解决问题（15分钟）1、围绕刚才大家提的问题，接下来我们4人小组一起来共同探讨一下：作者为什么要这样画？（从构图、造型、色彩、表现手法等方面加以分析）2、交流讨论，请出各组的代表上台来当小老师。

毕加索及其作品欣赏帅忠莉（2012年秋季物理教育 12081236002）【摘要】毕加索的作品和他的生活一样没有丝毫的统一，连续和稳定。

他没有固定的主意，而且花样繁多，激昂或狂躁，可亲可憎，诚挚或装假，让人喜欢又招人讨厌，变化无常不可捉摸，但他永远忠于的是——自由。

世界上从来没有一位画家像毕加索那样以惊人的坦诚之心和天真无邪的创造力，以完全彻底的自由任意重造世界，随心所欲地行使他的威力，他不要规定，不要偏见，什么都不要，又什么都想要去创造，他在艺术历程上没有规律可循，他从自然主义到表现主义，从古典主义到浪漫主义，然后又回到现实主义。

从具象到抽象，来来去去，他反对一切束缚和宇宙间所有神圣的看法，只有绝对自由才适合他。

【关键词】自由主义近代主义艺术创新巴伯罗•毕加索（1881～1973）出生在西班牙马加拉，是当代西方最有创造性和影响最深远的艺术家，他和他的画在世界艺术史上占据了不朽的地位。

毕加索是位多产画家，据统计，他的作品总计近37000件，包括：油画1885幅，素描7089幅，版画20000幅，平版画6121幅毕加索的一生辉煌之至，他是有史以来第一个活着亲眼看到自己的作品被收藏进卢浮宫的画家。

在1999年12月法国一家报纸进行的一次民意调查中，他以40％的高票当选为20世纪最伟大的十位画家之首。

对于作品，毕加索说：“我的每一幅画中都装有我的血，这就是我的画的含义。

”全世界前10名最高拍卖价的画作里面，毕加索的作品就占据4幅。

毕加索一生中画法和风格几经变化。

也许是对人世无常的敏感与早熟，加上家境不佳，毕加索早期的作品风格充满了早熟的忧郁。

早期画近似表现派的主题；在求学期间，毕加索努力地研习学院派的技巧和传统的主题，而产生了象《第一次圣餐式》这样以宗教题材为描绘对象的作品。

德加的柔和的色调，与罗特列克所追逐的上流社会的题材，也是毕加索早年学习的对象。

在《嘉列特磨坊》、《喝苦艾酒的女人》等画作中，总看到用罗特列克手法经营着浮动的声光魅影，暧昧地流动着款款哀伤。

01毕加索生平与艺术成就Chapter早年经历及艺术启蒙1901-1904年，毕加索经历人生低谷，作品风格以蓝色为主调。

代表作品《蓝色房间》、《老吉他手》等，描绘社会底层人物，表达同情与关怀。

蓝色时期作品情感深沉，笔触简练，具有强烈的感染力。

蓝色时期与代表作品粉红色时期风格转变1904-1906年，毕加索结识费尔南德·奥利维耶并坠入爱河，作品风格逐渐转向粉红色调。

代表作品《拿烟斗的男孩》、《亚维农的少女》等，描绘人物更加生动，色彩明快。

粉红色时期作品充满生活气息，展现温馨、浪漫的氛围。

代表作品《亚维农的少女（立体主义版本）》、《瓶子、玻璃杯和小提琴》等，将物体拆解成几何形状重新组合。

立体主义时期作品强调空间与结构的重塑，对现代艺术产生深远影响。

1907年开始与乔治·布拉克共同创立立体主义，颠覆传统绘画观念。

立体主义时期探索与创新02毕加索绘画技法与特点Chapter独特构图和色彩运用构图新颖色彩丰富线条表现力及笔触技巧线条多变笔触独特空间感营造和光影处理空间感强烈毕加索善于运用透视原理和色彩对比等手段，营造出强烈的空间感。

他的作品常常让人感到仿佛置身于一个三维的立体空间中。

光影处理巧妙他对于光影的处理也非常巧妙，能够通过光影的变幻和对比，刻画出人物和景物的立体感和质感。

他的光影处理有时显得神秘而幽深，有时又显得明亮而清新。

对后世艺术家影响开创了立体主义推动了现代艺术发展03《毕加索》课件一内容解析Chapter主题思想及创作背景介绍主题思想创作背景概述毕加索所处的时代背景，包括社会、文化、艺术等多方面的因素，以及这些因素如何影响他的创作理念和作品风格。

关键知识点梳理与讲解毕加索的生平与成就详细介绍毕加索的出生背景、成长经历、艺术成就等，帮助学生全面了解这位艺术大师。

毕加索的艺术风格与特点深入分析毕加索在不同时期的艺术风格，如蓝色时期、玫瑰时期、立体主义时期等，以及这些风格的特点和影响。

毕加索资料毕加索的每一幅画，每一笔看似简单的线条，看似纯粹的色块，都透露着他对生活的积淀，和长期积累下对人生的深刻理解。

亮点一：舞台小品式课堂印象最深的是来自金华的王赟老师上的《侃侃毕加索》一课，那风格不亚于一个优秀的小品演员，不光是学生忍俊不禁的笑，我们听课的老师都议论纷纷，对她赞赏有加。

看惯了主课老师的严谨，有这样一位风格独特的老师来上美术课，谁会不喜欢呢？当然王老师不仅说话爽快幽默，对课的把握也张弛有度。

毕加索的一生都是个传奇，他的艺术作品也不是所有人能欣赏接受的，要让学生去欣赏，并表达自己内心的感受是有难度的。

王老师运用各种手段激发学生学习兴趣，积极引导学生参与、讨论，其中向学生扔“炸弹”，让学生体会战争给人们带来的恐惧效果非常好，使学生对《格尼卡尔》这幅作品的历史背景与毕加索想表达的意思更明确了。

以一群丑女颠覆唯美的绘画传统，以极端几何图形取代流畅线条，毕加索以他的《亚威农姑娘》摧毁传统、背叛自己，却孕育出了震惊世界的立体画派。

他的艺术生涯几乎贯穿其一生，作品风格丰富多样，后人用“毕加索永远是年轻的”的说法形容毕加索多变的艺术形式。

除了绘画之外，帕布罗还迷恋斗牛。

这是安达鲁西亚人对死亡特有的浪漫激情。

一幕幕血腥的场面，深深的印刻在毕加索的脑海当中，当时他只有八岁。

但是已经开始创作斗牛的死亡场面。

(毕加索儿子，克劳德·毕加索)“他伴随着斗牛的热情长大。

父亲常带他去看斗牛，人对着牛跳舞，美妙的舞蹈表现出人类和动物之间的爱，最后以死亡而告终。

伟大的爱以死为终结。

”在毕加索的一生当中，认识他的人都被他的眼神所吸引，他那南部西班牙人的气质令人难忘。

(传记作家，约翰·理查森)“这真是很奇妙，用安达鲁西亚人的话来说，是Mirada Fuete，有穿透力。

一个早年的朋友曾说，…我觉得毕加索与众不同，当他盯着一张纸看时，锐利的目光能使那张纸燃烧起来，把画纸上的一切烧尽。

?”虽然帕布罗·毕加索，一生中大部分的时间都留在法国，但他跟西班牙仍然有着千丝万缕的关系。

毕加索简介【2 】以及部分作品
毕加索（1881～1973）出生在西班牙,是当代西方最有创造性和影响最深远的艺术家,他和他的画活着界艺术史上占领了不朽的地位.毕加索是位多产画家,据统计,他的作品总计近37000 件,包括：油画 1885 幅,素描 7089 幅,版画 20000 幅,平版画 6121幅.
巴勃罗·毕加索是个不断变化艺术手段的寻找者,印象派.后印象派.野兽派的艺术手段都被他吸取改选为本身的作风.毕加索的才能在于,他的各类变异作风中,都保持本身粗犷刚劲的共性,并且在各类手段的应用中,都能达到内部的同一与协调.毕加索有过登峰造极的境界,他的作品不论是陶瓷.版画.镌刻都如童稚般的游戏.
在毕加索平生中,从来没有特定的先生,也没有特定的后辈,但凡是在二十世纪活泼的画家,没有一小我能将毕加索打开的进步道路完整径直而进.也恰是以毕加索是一位真正的天才.20世纪恰是属于毕加索的世纪.毕加索在这个多变的世纪之始从西班牙来到当时的世界艺术之都巴黎,开端他平生光辉艺术的发明之旅.在20世纪,没有一位艺术家能像毕加索一样,画风多变而人尽皆知.毕加索的盛名,不仅因他成名甚早和《格尔尼卡》等传世佳构,更因他丰沛的创造力和多姿多彩的生涯,他留下了大量多层面的艺术作品.毕加索完成的作品统计约多达六万到八万件,在绘画.素描之外,也包括镌刻.陶器.版画.舞台服装等造型表现.在毕加索1973年过世之后,世界各大美术馆不断推出有关他的各类不同性质的回想展,有关毕加索的话题不断,并且常常带有新的论点,仿佛他还活在人世.
《格尔尼卡》
《第一次圣餐》《祭坛男孩》
《酒馆的“四只猫告白”》
《等待竞赛开端的斗牛士和公牛》《手里捧着鸽子的孩子》《小丑》
《母亲和孩子》《窗前的桌子》
《雕塑家》《黄头发的女子》
《扔石头的少女》《无题》。

你知道毕加索那⼗幅画作是最贵的吗？毕加索是当代西⽅最有创造性和影响最深远的艺术家，他和他的画在世界艺术史上占据了不朽的地位。

毕加索也是位多产画家，据统计，他的作品总计近 37000 件，包括：油画1885 幅，素描7089 幅，版画20000 幅，平版画6121幅。

可你知道他最贵的⼗幅画是⼗幅画吗？NO1、1.79亿美元《阿尔及尔的⼥⼈》2015年5⽉11⽇，美国纽约佳⼠得拍卖会上，西班⽛画家巴勃罗·毕加索的油画作品《阿尔及尔的⼥⼈(O版)》以超过1.79亿美元价格成交。

阿尔及尔⼥⼈是西班⽛画家毕加索创作的系列油画，总共创作了15幅名为《阿尔及尔⼥⼈》的油画，并从A到O分别为它们进⾏编号，O版是该系列的最后⼀幅。

《阿尔及尔⼥⼈》是他根据德拉克罗⽡同名画作绘就的。

毕加索的情⼈弗朗索⽡斯·吉洛曾在她1964年出版的回忆录中描述了艺术家创作的情形：毕加索常同她讲起他改编《阿尔及尔⼥⼈》的事，⼤概每个⽉都会带她到卢浮宫⼀次去研究原画。

经过两个⽉间成百次的纸本探索和14幅其他油画作品的铺垫，《阿尔及尔⼥⼈》在1955年2⽉创作完成。

NO2、1.55亿美元《梦》2013年，美国顶级艺术藏家史蒂夫-科恩(Steve A. Cohen )从拉斯维加斯⼤富豪、赌场⼤亨史蒂夫-韦恩( Steve Wynn)那购买了毕加索1932年创作的情⼈肖像画《梦》(Le Rêve)。

作品成交价⾼达1.55亿美元。

1927年，47岁的毕加索与长着⼀头⾦发,体态丰美的17岁少⼥初次相遇,从此,这位少⼥便⼀直成为毕加索绘画和雕刻的模特⼉。

《梦》这幅画作于1932年,可以说是毕加索对精神与⾁体的爱的最完美的体现。

1935年毕加索的第⼀段婚姻⾛到了尽头，其中⼀部分原因也是妻⼦⽆法忍受他和情⼈玛丽.特雷丝亲昵关系。

玛丽.特雷丝就是这幅《梦》的主⾓，在⼀画作中可以窥探端倪。

《梦》它描绘的情欲是畸变的，也是毕加索将地下恋情公布于众的独特⽅式。

世界名画《和平鸽》的创作者是毕加索(2) 关于《瓶⼦、玻璃杯和⼩提琴》 1912年起，毕加索转向其“综合⽴体主义”风格的绘画实验。

他开始以拼贴的⼿法进⾏创作。

这幅题为《瓶⼦、玻璃杯和⼩提琴》的作品，清楚地显⽰了这种新风格。

在这幅画上，我们可分辨出⼏个基于普通现实物象的图形：⼀个瓶⼦、⼀只玻璃杯和⼀把⼩提琴。

它们都是以剪贴的报纸来表现的。

在这⾥，画家所关注的焦点，其实仍然是基本形式的问题。

但是，这个问题此时却是以⼀种全新的态度来对待。

在分析⽴体主义的作品中，物象被缩减到其基本原素，即被分解为许多的⼩块⾯。

毕加索以这些块⾯为构成要素，在画中组建了物象与空间的新秩序。

他通过并置和连接那些笔触短促⽽奔放的块⾯，获得⼀种明晰剔透的画⾯结构，反映了某种严格⽽理性的作画程序。

⽽如今，在综合⽴体主义的作品上，他所采取的恰是正好相反的程序。

他不再以现实物象为起点，将物象朝着基本原素去分解，⽽是以基本原素为起点，将基本的形状及块⾯转化为客观物象的图形。

这就是说，他在表现出瓶⼦、杯⼦及提琴之前，就已经把⼀个抽象的画⾯结构，组织和安排妥当了。

通过对涂绘及笔触的舍弃，他甚⾄获得⼀种更为客观的真实。

他采⽤报纸、墙纸、⽊纹纸，以及其他类似的材料，拼贴出不同形状的块⾯。

这些块⾯，⼀⽅⾯显⽰着画以外的那个世界，另⼀⽅⾯则以其有机的组合⽽显⽰出画的⾃⾝世界的统⼀性和独⽴性。

难怪他的画商及好友卡恩维勒会如此地评价他：“即使没有摆弄画笔的本领，他也能搞出绝佳的作品。

”在这幅拼贴的画上，左边的⼀块报纸表⽰⼀只瓶⼦，那块印有⽊纹的纸，则代表着⼀把提琴。

⽽⼏根⽤⽊炭笔勾画的坚挺的线条，则使这种转换得以实现，并且将那些不相⼲的拼贴材料，纳⼊⼀个有机的统⼀体中。

这种拼贴的艺术语⾔，可谓⽴体派绘画的主要标志。

毕加索曾说：“即使从美学⾓度来说⼈们也可以偏爱⽴体主义。

但纸粘贴才是我们发现的真正核⼼。

”在这种拼贴语⾔的运⽤中，毕加索显然⽐别的⽴体派画家(如布拉克、格⾥斯等)更为⼤胆和富于幻想。

毕加索的⿊⾊时期毕加索转型时期最著名的作品：艾维扬的年轻⼥⼦Les Demoiselles d'Avignon, 1907Pablo Picasso's black period, also known as époque négre or negro period, refers to the years 1906 and 1907, in which Picasso falls under the influence of African art, on which he bases a series of drawings, paintings and woodcarvings that would lead to the creation of his seminal work Les Demoiselles d'Avignon.BackgroundWhile the young Picasso was trying to find his identity as an artist he would swing back and forth between stylistic refinement and crudeness. His classicist background cultivated his love of refinement, but also limited his artistic vocabulary. During the course of the 19th century, classicist art had come to the end of its rope,Woman, 1907Nude with drapery (The dance of veils)Female nude (Study for 'Les Demoiselles d'Avignon')Self-portrait, 1907Bust of woman (Study for 'Les Demoiselles d'Avignon')leading to the lustless virtuosity of men like Corot and Mauve and several new art movements sought and found ways to create art that matched the times, as classicist art was no longer able to. First theimpressionists, then the post-impressionists (Cézanne, Van Gogh, Gauguin) and finally the Fauves (led by Matisse) managed to shock traditional art into submission, opening up wide roads of artistic expression.As a sixteen year old, and under the influence of his conservative parents, Picasso saw no future in innovation and only wanted to become a classicist. When Pablo realized that he himself was unable to progress following the classicist road, he turned to avant-garde art, but still based on the aesthetic values of his classicist roots.This changed when the loss of a friend led to Picasso's blue period . Under the influence of his grief, and also the Spanish old master El Greco, Picasso's previously romantic style made way for a gloomy, sinister style which was far more expressive and for the first time he was beginning to show a style of his own, instead of copying other artists' styles, as he had previously done.Then, when his living conditions in Paris improved and Fernande Olivier would become his partner, his style regained its romantic, aesthetical quality during Picasso's rose period . Near the end of the rose period, and perhaps related to a short visit to Holland, Picasso's style became more direct and more intent on the structural, rather than the aesthetical side of art.Black periodPicasso would always remain an aesthetic at heart,but every now and then his urge to innovate made the structuralist in him surface, often resulting in shocking effects. His artistic ambition was such that he endured long periods of personal hardship in order to be able to innovate and rise above his more conservative colleagues. Like Van Gogh found a catalyst in Japanese art,Picasso came under the spell of African art and used its primitive power to shake off his classicist mannerism that offered no possibilities to innovate.Before Picasso started his Back Period he came into the possession of some ancient Iberiansculptures that he got from an acquantaince who had stolen them from the Louvre museum inParis. In Les Demoiselles d'Avignon the faces of the three women on the left are based on the Iberiansculptures. So as to avoid compositional monotony, Picasso based the faces of the two women on the right on the African totem art, that he had also collected.Throughout Picasso's career, periods would be concluded by a major artwork that contained all the new things he had learned. The painting Life concluded and summarized his blue period and The Family of Saltimbaques did the same for his rose period. Now it was up to the Demoiselles to show what he had been up to during his black period.Later in his life, Picasso would deny he had been inspired by African art, while making the Demoiselles (partly because of political, patriotic reasons - Picasso preferred to emphasize the Iberian nature of the painting), but there seems to be ample evidence that he was familiar with, and was already collecting African art while making the Demoiselles.Picasso acknowledged that a visit to the Trocadero museum changed him, but he didn't say why, he never gave African art the credit it deserves. Some pieces of African art in the Trocadero are as much "wonders of the world" as the pyramid of Giza or the works of Rembrandt, not technically of intellectually, but for their incredible emotional intensity. Throughout Picasso's work you can see references to some of the Africanmasks he saw at the Trocadero, but rather as pale, timid caricatures, totally lacking the power of the originals -maybe that's why Picasso always was so secretive about his African influences. Picasso's unique gift to art was his unparallelled flexibility, that allowed him to identify, absorb and use in his own art, much of what the history of human art had to offer. One reason for Picasso's interest inBust of woman, 1907Female nude (The dancer of Avignon)Bust of sailor or woman (Study for 'Les Demoiselles d'Avignon')Study for Les Demoiselles d'Avignon,pencil and pastels Study for Les Demoiselles d'Avignon, watercolor Woman in yellow, 1907African totem art (totem refers to African woodcuts that served to excorcize evil spirits), was that he identified with the element of excorcism. Whether or not related to the dying at the age of four of his younger sister Conchita (compare with Edvard Munch, to whom a similar event led to a life-long trauma), Picasso had an intrinsic fear about him and many of his paintings bear a strong sense of death. Perhaps Picasso's friend Alice Toklas best summed up Picasso's disposition when she first saw the Demoiselles. She described the painting as "painful and beautiful...and oppresive but imprisoned". That may well describe howPicasso felt during his Black Period, during which he was caught between thecommercial expectations of his dealers and his own artistic ambitions. According to some biographers the young Picasso saw himself as the new Messiah of art.In no small part, Picasso's black period was a reaction against the mainstream art trade. During his rose period , Picasso had indulged in expressions of Parisian elegance (paintings that are now more popular than cubism), but then the French restraint got so much on his nerves that he would call upon the totems of Africa and a brothel in Avignon to paint the Demoiselles (d'Avignon). The shallowness of impressionism (as heperceived it ¹ ) became Picasso's battle cry and until his dying day Picasso would attack even the great Monet.Picasso's Rose Period had secured him a stable living, but making aesthetically pleasing Parisian society scenes had hurt his pride as an artist and a man. His Black Period would become a mad dash for artistic integrity, something he valued above all. During a bad experience with hashish he became hysterical and cried out that he "wanted to killhimself because he had nothing left to learn; that one day a wall would impede his development and prevent his understanding of penetrating into the secrets of art he wanted to make new and fresh " ¹. From there on he would make art that was "bien couillarde" (had balls).One of Picasso's greatest fears was to be inadequate as an artist. He revered Cézanne for the "anxiety" that his work expressed; an anxiety possibly caused by Cézanne's limited technical ability, a problem he solved by a number of structural innovations, which inspired Picasso to do the same. "To Cézanne, painting was a matter of life and death", according to Picasso.Les Demoisselles d'AvignonIn the world of modern art, the year 1905 belonged to Henri Matisse. During theSalon d'Automne (Paris art show) Matisse had shocked the art world with innovativepaintings and a new -ism was born when art critic Louis Vauxcelles referred to Matisse and his followers as the "fauves" (wild animals), hence "fauvism". Matisse had become the Messiah of contemporary art, a role Picasso had envisaged for himself. During 1906, Picasso became ever more restless, resulting in long days and nights of continuous drawing and sketching. He was preparing for Les Demoisselles.His subject matter was a brothel and the five figures in the painting represent prosititutes. Picasso's sketchbooks show his countless attempts at solving the compositional problems he had, with ordering the five figures in a manner that was both logical and artistically convincing. He finally cracked it by an using a canvas ofunusual dimensions, following El Greco's painting "The Fifth Seal", which is almostsquare, a little higher than wide. Towards the end of his Rose Period, Picasso hadalready started his pictorial experiments with bodily disfiguration, but to hiscontempories nothing he had made before was so radical as Les Demoisselles.The contrast between the sexuality and femininity on the one hand and the "Africanmasks" on the other hand would shock even Picasso's friends, who were avant-garde artists themselves. As mentionedabove, to Picasso African art represented exorcism, but also masculinity. As such, Les Demoisselles is a quaintcombination of stylistic and sexual extremes. Masculinity andfemininity, as well as painterly refinement and crudeness. Thisfullfilled Picasso's desire to be "bien couillarde" as an artist, but alsoreflected his bohemian lifestyle and his mingling with people of"convoluted sexuality".The irony of the matter is, that these very people (Picasso's friends),who were sexually experimental and basically did everything that"God forbids", were so shocked at seeing Les Demoisselles that theydeclared Picasso insane and avoided him for a period of time. Picasso had reached his goal of surpassing Matisse and become the leading artistic innovator, but abandonned by his friends he experienced the public reaction to innovative genius. From there on Picasso would become very cautious with his artistic relationship with the general public and essentially hid his more innovative works - Les Demoisselles was sold only in 1925.During his cubist period , Picasso used Georges Braques to draw mostattention from people interested in cubism, also because Picasso realizedStudy for Les Demoiselles d'Avignon, woman's head Study for Les Demoiselles d'Avignon, female nude Study for Les Demoiselles d'Avignon, The Sailor, 1907Study for Les Demoiselles d'Avignon,ensemble of seven figuresthat his Spanish nationality wouldn't help his case in France. AlthoughPicasso wanted to be an innovator more than anything, Les Demoissellesmade him keenly aware of the social risks and he quickly learned (andproved to have a talent for) walking on political egg shells.La Bande à PicassoLa Bande à Picasso refers to Picasso's circle of friends whichformed during the first decade of the 20th century. The core of LaBande was formed (besides Picasso himself) by three poets:Guillaume Apollinaire, Max Jacob and André Salmon andPicasso had written "rendez-vous des poètes" on the door of hisstudio at the Bateau Lavoir. Most artists have a "second art form",in which they dabble at various degrees of success, in Picasso's casethis would be poetry. It's doubtful, as some hard-core Picasso devoteesassert, that Picasso was one of the major Spanish poets of his time, buthis interest in poetry was lifelong and profound. La Bande à Picassowould also be joined by painters, but, possible rivals as they were,Picasso would remain closer to his poet-friends.Although highly intelligent, Picasso was not a typical intellectual and heused his poet-friends to complement his own, hands-on approach to art.Picasso had a fantastic ability to learn from, and use, the ideas of otherartists and such was the "great cannibal of modern art". La Bande àPicasso in a broader sense was Picasso's careful selection of the best minds of Parisian modern art. As an established artist, he could be verygenerous towards emerging young artists, as long as they couldcontribute to Picasso's own artistic-intellectual wealth.To the benefit of his band, Picasso was also a notorious matchmaker,and took pleasure in finding suitable partners for his friends. As such heset up Apollinaire with Marie Laurençin,an eccentric and highly sexed young paintress. Nobody in La Banda reallyliked her, for her manipulative and effect-oriented manners, but because she wasan artist of considerable talent, she was good enough for Apollinaire.Laurençin described how the men of La Bande would constantly insult eachother, unless they were drunk and treated each other with excessivepoliteness.Women played a secondary role in La Bande and many biographers regardPicasso as "misogynistic" (hateful of women), but one has to see Picasso in aSouthern European context, in which men romanticize women to divine proportions, to the point that daily reality forces them to take more distance than a "cool Northerner" will.。