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”.
The Life-Changing Magic of Tidying Up by Marie Kondo | A 15-Minute Summary & Analysis
Author Marie Kondo introduces her KonMari metho of tidying and getting rid of clutter. Kondo urges reader to start by discarding then organizing the home to create space not only in the home but the mind. Kondo claims that reorganizing a space can bring positive change into one’s life. She claims that her clients have changed their lives as a result of implementing her method and writes that “tidying” the house puts the house in order and thus, the life in order.
Kondo writes that she has a zero percent repeat rate by clients. But she stresses that some clients have dropped out of her course because they expected her to do all the work for them or had to stop for various reasons when life got in the way.
Kondo believes that everyone can learn to tidy and have peace of mind as a result.
PLEASE NOTE: This is a Summary and Analysis of the book and NOT the original book.
This companion includes the following:
► Book Review
► Character List
► Summary of the Chapters
► Discussion Questions
► Analysis of Themes & Symbols
This Analysis fills the gap, making you understand more while enhancing your reading experience.
About the Author:
Leopard Books, is your perfect quick read companion. We analyze every chapter and hunt down the key points for your convenience. With in-depth summary and analysis, leap through books quickly and with ease.
“I'm done hurting her. She's been hurt enough. It's time I set her free...”
Once upon a time, I wished to go home and forget.
Now, I’m strong and ready to fight.
Seduced and claimed, Elder no longer just demands my voice, he commands me to be a thief like him.
But he offers me things I shouldn’t want, favours I should run from.
In return for his protection, I’m ordered to steal enough pennies and dollars to buy back my freedom.
Only, we both aren’t prepared for how he changes me, evolves me.
And now, it’s my turn to learn about him.
Book 3 in the USA Today Bestselling Romance, Dollar Series
HBO's Game of Thrones reigns as cable's highest-rated series. This official companion book gives fans new ways to enter this fictional world and discover more about the beloved (and reviled) characters and the electrifying plotlines. Hundreds of set photos, production and costume designs, storyboards, and insider stories reveal how the show's creators translated George R. R. Martin's best-selling fantasy series into the world of Westeros. Featuring interviews with key actors and crew members that capture the best scripted and unscripted moments from the first two seasons, as well as a preface by George R. R. Martin, this special volume offers exclusive access to this unprecedented television series.
In his New York Times bestseller Steal Like an Artist, Austin Kleon showed readers how to unlock their creativity by “stealing” from the community of other movers and shakers. Now, in an even more forward-thinking and necessary book, he shows how to take that critical next step on a creative journey—getting known. Show Your Work! is about why generosity trumps genius. It’s about getting findable, about using the network instead of wasting time “networking.” It’s not self-promotion, it’s self-discovery—let others into your process, then let them steal from you. Filled with illustrations, quotes, stories, and examples, Show Your Work! offers ten transformative rules for being open, generous, brave, productive. In chapters such as You Don’t Have to Be a Genius; Share Something Small Every Day; and Stick Around, Kleon creates a user’s manual for embracing the communal nature of creativity— what he calls the “ecology of talent.” From broader life lessons about work (you can’t find your voice if you don’t use it) to the etiquette of sharing—and the dangers of oversharing—to the practicalities of Internet life (build a good domain name; give credit when credit is due), it’s an inspiring manifesto for succeeding as any kind of artist or entrepreneur in the digital age.
Stripped of The Necronomicon, Lori travels to San Francisco to attend the Miskatonic Pop Festival where rock star Elston Gunn is using its power to summon fame and fortune. Little does he know that's he's unleashed evil incarnate onto the streets of the city by the bay. Only Lori Lovecraft can set things right…if she gets there in time.
Memo From the Story Department offers a battery of storygenerating engines and storyimproving tools, and reliable methods tested on hundreds of Hollywood productions. It goes far beyond the standard advice given in most screenwriting manuals. Drawn from sources as varied as vaudeville, classical Greek comedies, and Russian fairy tales, the book outlines a series of practical templates for creating believable characters and emotionally satisfying plots.
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