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	<title>Comments on: Pablo Picasso: Mosqueteros at Gagosian Gallery</title>
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		<title>By: Paul Krautter</title>
		<link>http://www.artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/comment-page-1/#comment-22293</link>
		<dc:creator>Paul Krautter</dc:creator>
		<pubDate>Thu, 25 Oct 2012 17:10:08 +0000</pubDate>
		<guid isPermaLink="false">http://testingartcritical.com/?p=1735#comment-22293</guid>
		<description>I like the latter Picassos.  Its hard to analyze why, but isn&#039;t it hard to say why a joke is funny or a tune is catchy, or moves your heart, or just makes you happy.  These transcendent qualities are related to but separate from the technical skill of the artist.  I like to paint, for fun, not a professional, and perhaps I can relate to the simple aspects of this art more easily.  

I see some wonderful creative elements in the picture above, fundamentals in art and design.  There are rhythms stated and repeated with variation that flow through the composition. It has a clear simple statement quickly and easily realized with deeper patterns becoming evident upon closer observation.

There is a path of color, cool to warm, from blue to red to yellow in the background creating movement, with a dark green figure centrally creating a resting point for the eye.

The brush strokes start as swirling large patterns with attractive mixing of colors, to geometric stripes, to diagonal patterns of fine lines adding a flow and rhythm to the textures which draws in and captures the viewer.

The simple closed curve forming the face becomes the theme with variation to form several simple blocks of composition to the right and left, always drawing the viewer back to the face.  Within the face the sausage like curves slowly progressively modulate in to the lips eyes and nose. The method of variation in construction of one side of the face to other other is echoed in the flower and in the boots.  Repetition with variation in a key to beauty in any art.

Three simple types of lines are complied decoratively to construct the entire image.  Strait lines, broad curves. and dots. Are distributed with a very artistic balance, also captivation, expressive, and a sign of the wizened maturity of the artist.  These simple inscriptions are as true an indication of an individuals soul as a signature in hand writing is unique to the person. 

Great things seem simple at first glance.  The story the picture tells is multifaceted and complex,  deceptively so considered the primitive manner of its execution.  Draftsmanship and proportion are thrown out, but what is necessary for passionate expression remains.  A short poem can say more than a novel, so which is greater.  A demented old artist loosing his powers could never produce a picture like this. As you are slowly carried into the drawing, passions and stories of the lives and dreams of men slowly emerge and grip your own soul.</description>
		<content:encoded><![CDATA[<p>I like the latter Picassos.  Its hard to analyze why, but isn&#8217;t it hard to say why a joke is funny or a tune is catchy, or moves your heart, or just makes you happy.  These transcendent qualities are related to but separate from the technical skill of the artist.  I like to paint, for fun, not a professional, and perhaps I can relate to the simple aspects of this art more easily.  </p>
<p>I see some wonderful creative elements in the picture above, fundamentals in art and design.  There are rhythms stated and repeated with variation that flow through the composition. It has a clear simple statement quickly and easily realized with deeper patterns becoming evident upon closer observation.</p>
<p>There is a path of color, cool to warm, from blue to red to yellow in the background creating movement, with a dark green figure centrally creating a resting point for the eye.</p>
<p>The brush strokes start as swirling large patterns with attractive mixing of colors, to geometric stripes, to diagonal patterns of fine lines adding a flow and rhythm to the textures which draws in and captures the viewer.</p>
<p>The simple closed curve forming the face becomes the theme with variation to form several simple blocks of composition to the right and left, always drawing the viewer back to the face.  Within the face the sausage like curves slowly progressively modulate in to the lips eyes and nose. The method of variation in construction of one side of the face to other other is echoed in the flower and in the boots.  Repetition with variation in a key to beauty in any art.</p>
<p>Three simple types of lines are complied decoratively to construct the entire image.  Strait lines, broad curves. and dots. Are distributed with a very artistic balance, also captivation, expressive, and a sign of the wizened maturity of the artist.  These simple inscriptions are as true an indication of an individuals soul as a signature in hand writing is unique to the person. </p>
<p>Great things seem simple at first glance.  The story the picture tells is multifaceted and complex,  deceptively so considered the primitive manner of its execution.  Draftsmanship and proportion are thrown out, but what is necessary for passionate expression remains.  A short poem can say more than a novel, so which is greater.  A demented old artist loosing his powers could never produce a picture like this. As you are slowly carried into the drawing, passions and stories of the lives and dreams of men slowly emerge and grip your own soul.</p>
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		<title>By: variations of destructive mockery &#124; Madame Pickwick Art Blog</title>
		<link>http://www.artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/comment-page-1/#comment-9560</link>
		<dc:creator>variations of destructive mockery &#124; Madame Pickwick Art Blog</dc:creator>
		<pubDate>Fri, 26 Aug 2011 17:15:54 +0000</pubDate>
		<guid isPermaLink="false">http://testingartcritical.com/?p=1735#comment-9560</guid>
		<description>[...] &#8230;So much is made of Picasso’s reckoning with the past in his deconstruction of Dutch and Spanish old masters, whereas the revelation of the Guggenheim’s achronistically hung 2006 exhibition, Spanish Painting from El Greco to Picasso: Time, Truth, and History was how the well-engineered salvos of Miró and Gris crisply held their own beside Goya and Velasquez, and how fresh and potent Dalí’s early work seemed. The abundant Picassos, on the other hand, looked unintentionally out of place, undercooked in the company of their cussedly elegant forebears and rivals. The current show takes aim more at Hals and Rembrandt, and the perverse feeling I got was that Picasso had it backwards, channeling the anguished depths of the former and the shimmering felicity of the latter. InMousquetaire et femme à la fleur (4/18/1967) a version of a recurring lace-collared, mustachioed voyeur is scribbled with a certain self-regard. This rote construction feels inflated in its “mastery,” conjuring the ghastly specter of Dali doodles from his pitiful decline.Read More:http://artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/ [...]</description>
		<content:encoded><![CDATA[<p>[...] &#8230;So much is made of Picasso’s reckoning with the past in his deconstruction of Dutch and Spanish old masters, whereas the revelation of the Guggenheim’s achronistically hung 2006 exhibition, Spanish Painting from El Greco to Picasso: Time, Truth, and History was how the well-engineered salvos of Miró and Gris crisply held their own beside Goya and Velasquez, and how fresh and potent Dalí’s early work seemed. The abundant Picassos, on the other hand, looked unintentionally out of place, undercooked in the company of their cussedly elegant forebears and rivals. The current show takes aim more at Hals and Rembrandt, and the perverse feeling I got was that Picasso had it backwards, channeling the anguished depths of the former and the shimmering felicity of the latter. InMousquetaire et femme à la fleur (4/18/1967) a version of a recurring lace-collared, mustachioed voyeur is scribbled with a certain self-regard. This rote construction feels inflated in its “mastery,” conjuring the ghastly specter of Dali doodles from his pitiful decline.Read More:<a  href="http://artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/" rel="nofollow">http://artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/</a> [...]</p>
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