Who were the humble and horny who inspired and posed for Gustav Klimt
In the life of the famous Austrian artist, there were hundreds of women: the rich wives of the Viennese elite and the poor prostitutes, friends for many years and random.…

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The personal drama of the French artist Emile Mounier, which inspired him to paint children's portraits
There are not so many painters in the world history of art who dedicated their work to children's portraits. For, in order to capture the lovely mischievous and immediate children,…

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The rise and fall of Orestes Kiprensky: For what the author of the best portrait of Pushkin was stoned and who saved him
Orest Kiprensky gladly accepted in the homes of nobles, not only in Russia, but also in France and Italy. His talent was recognized in Europe and nothing seemed to hinder…

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Pablo Picasso and his victims: An artist who could not love, but he artistically loved to torment

According to the accepted ideas, women need an artist to inspire: with her beauty, with a word of support, simply with the support of the rear. But the famous painter Pablo Picasso was looking for inspiration in completely different things. If a woman became a muse to him, one could immediately say that she was not lucky.

Here are two artist’s confessions, which immediately shed light on the properties of his nature and on his relationship to his “muses”. “I think I will die, never loving anyone,” he confessed once, and in another he said: “Every time I change a woman, I have to burn the one that was last. So I get rid of them. They will no longer be around me and complicate my life. This, perhaps, also will return my youth. Killing a woman, destroy the past, which she personifies. ” But the latter is too streamlined. We are not talking about a big quarrel, which puts an end to the relationship. We are talking about a slow psychological “murder” that can drag on for years.

In his youth, Pablo Picasso changed women every time he needed new sensations. It was his favorite trick to deal with the next moment of creative impotence, which sooner or later happen to everyone. Moreover, it was a very popular way of overcoming such crises, so if Picasso was notable for something new in his search for new sensations, we would not know it. There is only one nuance that precisely distinguishes the relationship of the painter with the muses: about each of them, he believed that she loved him insufficiently.

When, at the age of thirty-six, Picasso married the Russian ballerina Olga Khokhlova, many thought that he finally settled down. Unless his mother never harbored illusions: she directly said that no woman would be happy with her son. Tried Olga Pablo long and hard. A son was born in marriage. Approximately after that, as often happens, Picasso cooled off to his next muse. A ballerina fluttering around the stage and a tired, sleepy mother seemed to him radically different people.

It is customary to blame Olga for being jealous of her husband, but she must have had reasons. Pablo got too used to promiscuity and very quickly began to act as if he was looking for a new woman. And found.

Marie-Therese was seventeen years old. She just walked down the street when a middle-aged man grabbed her hand and said: “I am Picasso! You and I will do great things together. ” Marie-Therese had no idea who Picasso was, but she had an indecisive, gentle nature. Yielding to the first time, she provoked Pablo, and with pleasure he seized more and more power, bending, pushing, breaking the psyche of a young girl, reveling in how obedient the toy came out of it.

With a teenager who was not able to fight back, it turned out to do something that far from every previous woman probably agreed to. Picasso tortured Marie-Theresa physically, he put more and more sadistic experiments. He was especially excited by her still childish face and manners, children’s tears and the fact that their connection should be kept secret.

Here it is necessary to bring another key installation of the artist in respect of women. He believed that all women are divided into goddesses and foot mats, and the greatest pleasure is to take the first and turn it into the second. He did not consider human relations with a woman in principle. As in his paintings, the one depicted fell into “cubes”, so under his gaze each woman was not a person, but a set of details that promised an interesting game.

It must be said, by the way, that, whether feeding prejudice to modern art, or feeling this psychopathic touch in the cubist portraits of Picasso, his wife strictly forbade him to portray her otherwise than in a realistic manner. Naturally, having found Marie-Terez, Pablo did not even think of throwing another toy. Why get divorced if you can torture both women and use each as a tool for torture the other? He did it with pleasure. Psychological breaking he liked even more physical torture. When he said that he needed to kill a woman, he was not joking. Kill as a person. Destroy as a person. That’s what inspired him and replaced him with love.

When Marie-Therese became pregnant (and the artist considered protection as superfluous), Picasso settled her at home. Olga, unable to bear it, went with her son to nowhere. She did not stutter more about divorce. She generally did not want to talk about anything with Pablo.

Marie-Therese gave birth to a daughter. Soon after, the Second World War began. Picasso went to live in Switzerland. His house was soon occupied by the laws of war.

Painting of Gustav Klimt: Modern with nudes, Hitler's help and the journey of “Golden Adele”
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How Viktor Vasnetsov in 25 years created 5 thousand square meters of church painting
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Sergey Zaryanko and his “living” portraits: As a boy from the serfs, became the favorite artist of the royal family
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Expressive "broken" portraits with a palette knife, painted from photographs
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