On such a gloomy and quiet weekend, only the branches trembled, and finally put away the restlessness and excitement that was taken care of by the warm sun a few days ago. Make a glass of lemonade at hand and want to write about the Picasso exhibition I went to see recently.
Some of the works in this exhibition are the first collective appearance after the creation is completed, and the importance is self-evident. On a sunny afternoon, I walked from school to tate modern. On the way, Mr Zhang Fazhong talked about Picasso in my earphone, which was considered as a preview.
Think about Picasso's first acquaintance, probably in a primary school art textbook. However, more than a decade ago, art classes in second-tier cities in the motherland were undoubtedly a group of people playing tricks. The master works in the textbook will always be "what a ghost, the paintings are not as good as mine". At that time, I naturally couldn't understand the sadness of guernica and the acidity of night fishing in Antibu, let alone the abstract concept of cubism, and even had some humble misunderstandings about modern art.
When I was in college, I turned over some biographies of Picasso. He is simply a living book "How love rat was Tempered". Picasso was inseparable from women in his life's creation. It can even be said that without those pathetic and ridiculous women who advance wave after wave, there would be no artists who are neither crazy nor alive. Changing lovers for a person with creative temperament may also be because he has to change lovers frequently in order to try a new creation. He even let two jealous women fight in front of him, and even deliberately revealed the whereabouts of his hanging out with his lover to his wife, so that she would come out from time to time to arrest him. From the female point of view, this must be textbook-level love rat, deliberately making people who love him feel uncomfortable. This malice and stupidity is hard to forgive.
Of course, as an artist, Picasso is an unquestionable genius. He saw his works hanging in the Louvre before he died. The theme of this exhibition in London is Picasso 1932: Love, Fame and Tragedy (Picasso 1932: Love, Fame and Tragedy).
1932 is called Picasso's "miracle year". This year, he was 50 years old, accompanied by his 22-year-old lover Mary-Therese Walter. Obviously, this young girl has become the prototype of many important works of Picasso and the source of creativity.
This unofficial history is very interesting. It is said that when 45-year-old Picasso met Walter of 17 in the Paris subway station, he grabbed the girl excitedly and told her: I am Picasso! You and I will do great things together. Sure enough, the artist's sense of smell is extremely sensitive, and those works about lovers have brought him great wealth and fame.
I don't want to repeat the background and appreciation of these works. Those vivid metaphors (such as a man's penis on a girl's face), passionate desires and rich emotions should have different views. In short, it is really tiring to see the whole exhibition (arranging exhibitions in chronological order and sorting out the works of that year 12 months). When I almost saw the work in August, I had no strength to read the text introduction on the wall, and the English explanation in the guide became the background music for me to look at the painting in a daze.
When I saw the last few exhibition halls, the color suddenly became dim and gloomy. It is no longer the fiery desire revealed by female nudity, but the dark corner outlined with sharp lines. The theme of this period is redemption. It is said that his wife was seriously injured while swimming in the river during that time (it is also said that her wife committed suicide). Of course, the works of that period are also used for political interpretation, but I prefer to believe the rhetoric related to lovers. After all, these works are kept by him as a diary, and he also generously admits that Essential only has love. Whatever it is.
The last point of association is about art and literature.
In fact, art is interlinked. For example, when we understand literary works or artistic works, we will unconsciously look for and analyze images, observe the mood of the creators, and strive to achieve some kind of * * * sound. Picasso's works are twisted and broken, which makes traditional aesthetics fall apart and breaks the fanatical pursuit of "image" in classical art.
This easily reminds me of Plato's judgment on poetry. He thinks that poems that imitate thoughts are good poems, while poems that imitate reality are backward and should be eliminated. The language defamiliarization pursued by modernist poetry is probably exactly the same as Picasso's distorted painting. This kind of defamiliarization is not deliberately difficult, but has more metaphysical significance. It is precisely because of exaggerating and offending the raw materials that the appreciator can be forced to have a special understanding of them and want to arouse the resistance against the alienated people.
Even in today's world, there are still some societies that have a stubborn monopoly on civilization and a compulsory knowledge dissemination system, and write consistent values into everyone's mind. The value of art lies in resisting a highly correct ideology, commercial principles and jungle laws, giving people spiritual liberation and letting them wander, at least at the level of "life" rather than "survival".
Ironically, the pursuit of "freedom" always makes people worry too much, because it implies this ubiquitous slave status.