Weeping Woman Picasso Essay

Weeping Woman Picasso Essay-77
Freeman's show accomplished in its original version, especially since the publication that accompanies the show is more a freestanding book than a catalogue and reproduces about 135 Picassos, of which only 40 were actually shown in Los Angeles.

Freeman's show accomplished in its original version, especially since the publication that accompanies the show is more a freestanding book than a catalogue and reproduces about 135 Picassos, of which only 40 were actually shown in Los Angeles.

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For anyone deeply interested in painting, this show is a fascinating exegesis on the medium's ways and means, a series of themes and variations -- and more variations -- based on the female body and face.

It is also an invaluable commentary on form following feeling, which highlights Picasso's powers of invention and reinvention.

This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996.

To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

And surreptitiousness: in "Guitar Hanging on a Wall" (1927) he covertly acknowledges his new relationship with Marie-Therese by showing her shadowlike profile surveying their linked initials, with hers being arranged to suggest a body with open legs.

There are a few instances of startling ineptness, like the awkward forms and heavy-handed surface of "Bust of a Woman," in which a screaming head appears to bite a black, Malevichian painting.Lieberman seems to have other disagreements as well.Picasso's 1923 "Woman in White," displayed just outside the entrance to the exhibition, is listed in its brochure under the heading "Prologue: Olga Picasso," despite a recent article by the art historian William Rubin arguing that the painting is a portrait of the 1920's socialite Sara Murphy.)It is difficult to assess what Ms.Her thesis, while not entirely new, is that Picasso's images of weeping women were not inspired by the anguish he caused Marie-Therese or Dora Maar, but by his own anguish about the Spanish Civil War and its slaughter of innocent civilians.This approach makes the victimization of women less completely central to Picasso's greatness, and places that greatness in a less isolated, more historical context. Freeman also reproduces works made by Julio Gonzalez and Joan Miro for the Spanish Pavilion that involved the motif of women in distress.)Also implicit in Ms.Now, for the first time, some of Picasso's most personal works from these years are the subject of their own show."Picasso and the Weeping Women: The Years of Marie-Therese Walter and Dora Maar," organized by Judi Freeman for the Los Angeles County Museum of Art, has come to the Metropolitan Museum of Art, albeit in a substantially enlarged and reconfigured form.Olga is reduced to an animalistic abstraction, a hard-edged monster with a jagged screaming mouth; Marie-Therese is a floating dream of lavender curves and post-coital sensuality, the decorative apotheosis of the Surrealist unconscious.The beautiful, intensely intelligent, increasingly distraught Dora Maar inspired an angular style that gives Expressionism a Cubist infrastructure and recalls the vibrant striations of the "Demoiselles" period.As much as Picasso himself, its inadvertent subject is the conflict between the old and the new guard of Picasso scholarship. Freeman's essay and compare it with the works and wall texts in the show, one discovers a substantial discrepancy between her thoughts about Picasso and the thoughts of William S.Lieberman, chairman of the Metropolitan's 20th-century department and a veteran of many Picasso projects and exhibitions, who enlarged and reshaped this show for its Met appearance.(Mr.

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