Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturally, joined those who called themselves modernists, the non-conformist artists and writers, those whom Sabartés called “the élite of Catalan thought” and who were grouped around the artists’ café Els Quatre Gats. During 1899 and 1900 the only subjects Picasso deemed worthy of painting were those which reflected the “final truth”; the transience of human life and the inevitability of death. His early works, ranged under the name of “Blue Period” (1901-1904), consist in blue-tinted paintings influenced by a trip through Spain and the death of his friend, Casagemas. Even though Picasso himself repeatedly insisted on the inner, subjective nature of the Blue Period, its genesis and, especially, the monochromatic blue were for many years explained as merely the results of various aesthetic influences. Between 1905 and 1907, Picasso entered a new phase, called “Rose Period” characterised by a more cheerful style with orange and pink colours. In Gosol, in the summer of 1906 the nude female form assumed an extraordinary importance for Picasso; he equated a depersonalised, aboriginal, simple nakedness with the concept of “woman”. The importance that female nudes were to assume as subjects for Picasso in the next few months (in the winter and spring of 1907) came when he developed the composition of the large painting, Les Demoiselles d’Avignon. Just as African art is usually considered the factor leading to the development of Picasso’s classic aesthetics in 1907, the lessons of Cézanne are perceived as the cornerstone of this new progression. This relates, first of all, to a spatial conception of the canvas as a composed entity, subjected to a certain constructive system. Georges Braque, with whom Picasso became friends in the autumn of 1908 and together with whom he led Cubism during the six years of its apogee, was amazed by the similarity of Picasso’s pictorial experiments to his own. He explained that: “Cubism’s main direction was the materialisation of space.” After his Cubist period, in the 1920s, Picasso returned to a more figurative style and got closer to the surrealist movement. He represented distorted and monstrous bodies but in a very personal style. After the bombing of Guernica during 1937, Picasso made one of his most famous works which starkly symbolises the horrors of that war and, indeed, all wars. In the 1960s, his art changed again and Picasso began looking at the art of great masters and based his paintings on ones by Velázquez, Poussin, Goya, Manet, Courbet and Delacroix. Picasso’s final works were a mixture of style, becoming more colourful, expressive and optimistic. Picasso died in 1973, in his villa in Mougins. The Russian Symbolist Georgy Chulkov wrote: “Picasso’s death is tragic. Yet how blind and naïve are those who believe in imitating Picasso and learning from him. Learning what? For these forms have no corresponding emotions outside of Hell. But to be in Hell means to anticipate death. The Cubists are hardly privy to such unlimited knowledge”.
Have you ever wanted to redecorate your home, but you were too afraid to get started? Maybe you looked around and thought to yourself, “this place could use something special,” but you never knew where to begin? Or maybe you did have an idea of what it should look like, but you were just afraid of the potential cost? If any of these scenarios sound familiar to you, then this is the manual for you.
In this handy, do it yourself suggestion guide, you will find 55 do it yourself ideas for what you can do in each room of your home to liven things up, add some personal flair, and make your home into the artistic reflection of your soul that you always wanted it to be. From low cost crafts to painting techniques to give your home a unique touch, this guide book is designed to make sure you always have a trick up your sleeve and a brush in your hand.
Whether you’re looking to do something major to your walls, or you just want to spruce the place up a bit, DIY Decorating: 55 Simple and Affordable Methods to Adorn Your Dwelling is a great place to start collecting ideas for your next big, or not so big, home renovation project
Here is what you will learn after reading this book:
-Fixes around the Home
23 Unique Ideas for Quick, Lovely, Inexpensive DIY Gifts in Jars
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This playful collection of rainbows is a bright and beautiful appreciation of all the color that surrounds us. Artist Julie Seabrook Ream invites us to see the extraordinary beauty of ordinary objects: she gathers colorful iterations of a single type of thing, from feathers to fishing gear, matchbooks to macarons, and neatly arranges them in rainbow order. A fascinating index details all the objects in each rainbow, bringing the magnetic appeal of meticulous organization to this burst of color in book form. A striking package— with foil stamping on the cover and a rainbow-colored exposed spine—makes this celebratory book a treasure for those who love art, design, and a fresh perspective.
Creative journaling is an extremely popular movement, with an engaged community on social media for products like the Bullet Journal
Author runs a successful blog, “Page Flutter,” all about creative journaling and productivity
Includes full-color photos of layouts, templates, lists, and doodling inspiration
A book that will delight every cat lover, full of wise and unforgettable life lessons, each paired with the perfect photo. Cats are the ultimate savants, possessing intelligence, poise, and sass in equal measure. They know when to play it cool, and when to pounce; when to fly solo, and when to cuddle up. Entertaining, unpredictable, and just a bit wild, cats encourage us to explore, take chances, and live on the edge—just as if we too had nine lives. Cynthia L. Copeland, author of the bestselling Really Important Stuff My Dog Has Taught Me and Really Important Stuff My Kids Have Taught Me, now turns her attention to our mysterious feline friends. Every page of this full-color gift book is a joyful reminder of what’s important in life. Like Confidence: “Insist on a seat at the table.” Curiosity: “Have more questions than answers.” Adventure: “Sometimes you have to leap before you look.” Individuality: “You’ll be remembered for what sets you apart.” Kindness: “Recognize the power of your purr.” And Solitude: “Find your own square of sunshine.”
This intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmakerfor the first time.Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999.Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life.
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