This style is unsuitable. Excerpt from the book "Art, Perception, and Reality"

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Ad Marginem has released the book "Art, Perception, and Reality" in collaboration with Masters. This collection features essays on the nature of imagery in art by renowned authors: art historian Ernst Gombrich, psychologist Julian Hochberg, and philosopher Max Black. The book offers an in-depth analysis of the perception of art and its connection to reality, making it a valuable resource for researchers and art lovers.

With permission from the publisher, we present an excerpt from the book in which Gombrich shares his reflections on the work of Picasso. This text analyzes the artist's unique approach to art, his innovative techniques, and his influence on contemporary art. Gombrich examines in detail how Picasso reinterpreted traditions and created new forms of expression, which made him an outstanding master of his time. This passage provides an opportunity to gain a deeper understanding of Picasso's philosophy and artistic techniques, as well as his significance in the context of art history.

In this area of ​​interaction between external form and its expression, one must seek an answer to the question of how the artist compensates for the lack of movement. He creates an image that, despite not precisely resembling the model in form and color, conveys a similar emotional expression. This underscores the importance of artistic interpretation, in which subjective sensations and emotional intensity become more important than external details. The artist uses various techniques and methods to convey dynamism and life, even when they are physically absent.

Story Françoise Gilot's account of Picasso's portrait of her provides insight into his artistic approach and philosophy. She explains that the artist initially planned to create a realistic portrait, but upon reflection, he decided that this style was incapable of capturing her true essence. He remarked, "No, this style won't do. A realistic portrait doesn't do you justice." While Gilot was sitting, Picasso said, "I don't see you sitting... You're not passive at all. I only see you standing." This approach demonstrates how Picasso sought to capture not only the sitter's appearance but also her inner dynamism and character. Remembering Matisse's words about my portrait with green hair, I began to align my thoughts with his. "Matisse isn't the only one who can make your hair green." My hair took on the shape of a leaf, and this element transformed the portrait into a symbolic floral pattern. Pablo's chest was depicted in the same rounded rhythm. The face, however, remained quite realistic and out of keeping with the surrounding elements. Pablo studied it carefully. "The face needs to be painted completely differently," he noted, "not continuing the lines of the existing forms and the surrounding space. Even though it's quite long and oval, to convey light and expression, it should be depicted as a wide oval. I'll compensate for the length by using a cool color—blue. This will give it the appearance of a small blue moon."

Pablo painted a sheet of paper sky blue and began cutting out oval shapes that matched the concept of my portrait. The first two shapes were perfectly round, and the next three or four were elongated. After he finished cutting them out, Pablo drew small eyes, a nose, and a mouth on each shape. He then began placing these cutouts on the canvas, shifting each one slightly left, right, up, or down, searching for the perfect placement. None of them felt quite right until he picked up the last cutout. After testing the others in different places, he already knew where it should go. When Pablo glued it to the canvas, the cutout fit perfectly into the composition and looked convincing. He stepped aside and said, "Now this is your portrait."

In This post examines the process of transition from real life to artistic image. This transition is achieved through a balance of compensatory techniques. To compensate for the narrowness of the model's face, Picasso uses blue, perhaps associating pallor with a sense of sophistication. However, even Picasso was unable to immediately find the perfect balance of these compensations and resorted to cutting out shapes from cardboard. He was searching for an equivalent in his understanding, striving to reflect his feelings. The artist sought ways to balance life and image, like a traditional portrait painter, exploring various interactions between form and expression. This approach allows us to delve into the essence of artistic creativity and understand how personal feelings can be transformed into art.

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Here and below, the translation by D. Woźniakiewicz is presented.

Gilot F., Lake C. "Life with Picasso". New York, 1964. This book offers a unique perspective on the personal and creative life of the famous artist Pablo Picasso through the prism of his relationship with the Frenchwoman Frances Gilot. The work reveals not only artistic aspects but also the emotional experiences associated with their life together. Readers will be able to learn about Picasso's influence on 20th-century art and understand how his personal relationships shaped his work. The book serves as an important source of information for both art lovers and researchers interested in the life and work of Picasso.

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