Andre Wallace

Tuesday, October 11, 2016

Picasso Portraits

This week Waldemar Januszczak and Laura Cumming are both discussing the superb Picasso Portrait exhibition at the National Portrait gallery. An exhibition not to be missed for the amazingly varied visual range that's on view.

Laura writes; " In fact, the show is a true liberation from art-historical constraints. Its curator, Elizabeth Cowling, urges us to view Picasso as an actual man rather than an avant garde deity. She has assembled nearly 80 portraits from every phase of his career – blue period drinkers, cubist flâneurs, opulent nudes, caricatures, late self-portraits – in a condensed retrospective that fills the entire ground floor of the National Portrait Gallery. Nor are these pseudo-portraits, like the Tate’s Weeping Woman, lacking any sense of individual presence. Each image has force of personality, no matter how remote from conventional likeness."

Quite which goes to prove how people no longer look at visual images or observe what's in front of them. Waldemar happily points this out with this remark; "  And how the shifting between moods and personas was achieved not by changing poses or capturing expressions or controlling the light, as others did it, but by brilliantly innovative mark making - in Picasso's portraiture message and manner were fused in a way that was ultimately unique."

Mark Hudson at the Telegraph is more blinkered in his reponse; " But there are marvellous things all the way through, more than enough to make this one of the year’s must-see shows. You leave astonished at Picasso’s near-miraculous ability to make lines, colours and brush marks do absolutely anything he wanted."

Christine Temple at the Guardian is downright amateur in her wordy criticism; " He did not use his visual and tactile memory to produce exact copies of what he had seen. He changed them into something new, combining the originals with other ideas and influences. Just not good enough.

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