Art-O-Gramm: Picasso-the artist, life and love-scene 1

Picasso's life and his loved ones - especially in relation to Picasso's relationship with and to women an endless topic, on which serious artists and excited feminists, outraged petty bourgeois and imaginative cookbook authors, confused social scientists and envious boulevard journalists from probably every conceivable viewing angle.

The artist lifestyle and his relationships with women have already been dissected thoroughly enough, and it is probably not that important who shares why and which bed.

Nevertheless, a overall view of Picasso does not quite avoid taking a look at his lifestyle and love - both are puzzle parts of the "People Picassos" , both also influenced his art. Therefore, a sketch in 7 scenes follows the private side of the artist - an intensely lived life.

Scene 1: Unusual lifestyle - always a feast for some of the media

Not only IT girls are where the air is burning

But also many artists, and really not in our century. Just in time at the beginning of the 20th century, in 1900, Picasso the city for the first time, which was to become his most common place until the end of the Second World War: he and his friend Casagemas traveled to the world exhibition in Paris and, as in the cities of Barcelona and Madrid inhabited, immediately found the part of the city in which life was really raging and the artists. Avantgarde met.

The "Exposition Universelle DE 1900" , the global media event of the time, attracted an incredible 48 million visitors to Paris. As many of these visitors as possible crowded in the center to the left and right of the one in the partly newly built hotels, a large part found its quarters somewhere on the way to the second exhibition site in the town of Vincenne located southeast of Paris.

Picasso, on the other hand, found unerringly in the notorious northern outskirts of Paris, the Montmartre , birthplace of the Paris community and the place of residence of the Parisian artists in the 19th century; He will share a studio there with Casagemas for a while.

This appearance of 19-year-old Picasso in Paris shows something that should continue to repeat in Picasso's life: Picasso, where he also gives himself, quickly and always quickly and always the urban "hot spot" , in which the respective cultural upheaval takes place-it is always "in the middle" .

If he was in Paris and z. B. in the Künstlerhaus Bateau-Lavoir on the Montmartre, it was anything but a quiet life: Numerous artists lived on the Montmartre, free and uncomfortable and cheap, surrounded by cabarets and dance locals and small restaurants, and the artists/apartments of the artists were celebrated, often and quite unrelated.

In 1908 Picasso gave a big festival in honor of Henri Rousseau , about which it was talked about so long that it gained art historical importance. An impressive series of artists ran in the studio converted into a barn, "everyone is said to have been nice and blue", and that only ended when the sun was already in the sky.

The media paint the pictures as they want

Sometimes not only a festival got out of control, but the media were offered stories with the stuff as a tangible scandal. In any other non -secured manner, because of their "bohemian life" suspicious celebrities, suspicious celebrities were also very happy to be made the subject of reporting.

, around 100 years ago, Picasso was of the time in one of the scandals of the time , a scandal about the theft of the most famous portrait of women in the world, which as the most shocking result promoted that the Louvre was almost a self -service shop for thieves at the time.

In the summer of 1911 the Mona Lisa disappeared from the Louvre. Picasso and his friend Guillaume Apollinaire might have acquired the call in Paris not to be able to resist beautiful women; However, Apollinaire was officially suspected because he found two stone masks stolen from the Louvre.

Apollinaire had acquired this from a roommate and Picasso from Apollinaire. Apollinaire was definitely arrested and said that Picasso was involved, he was already in the middle of the media hype around the theft.

There was a lot back and forth, the roommate (Géry Pieret) stole a figure in the Louvre and handed it over to the Paris Journal newspaper-just to demonstrate that security in the museum was not the best. The newspaper offered 50,000 francs for everyone who procured Mona Lisa, Apollinaire and Picasso finally handed over their sculptures to the Paris journal.

Picassos was only interrogated, the trial of Apollinaire was eventually reflected due to lack of evidence. The true thief was an Italian picture of pictures that had worked in the Louvre that Mona Lisa reappeared December 1913 in Florence, until then the press had a lot of fun and Picasso had a lot of trouble with the case.

During the two and a half years in which the Mona Lisa had disappeared, a total of eight Mona-Lisa fakes were sold to collectors.

There are variants of the story, according to which all the thefts listed in the area of ​​the scandal were only committed to show the huge security gaps in the theft protection of the Louvre.

Guillaume Apollinaire is said to have only been accused because he belonged to the group of artists, the violent criticism practiced the type of stale museum art, which the Louvre represented - Apollinaire once signed a manifest: "Burn Down the Louvre." (Burns down the Louvre).

The next variant of the story saw the Italian Verglaser Perugia as a committed rescuer of national art - he was supposed to stole the Mona Lisa because he believed that Napoleon had illegally kidnapped from Florence, with the "return" he only wanted to do his duty as a patriot.

TV documentary: Picasso and the women - the master of the game

Picasso and the women-the master of the game a film by Jacqueline Kaess-Farquet Production: BR 1997, series Lido recording: BR 27.06.2010

The media and the strangers

Much more interesting than the real scandal is the - then as now - sometimes inhuman and unreasonable reporting about it.

Picasso was taken hard by the press at the time , and his lifestyle was presented as completely uninhibited, exhausting and dangerous. And-it is hard to believe-there are still clear hints in this direction in today's media reports about Picasso and Apollinaire and the theft of the Mona Lisa.

For example, it is found (in the 21st century!) That the story around the robbery of the Mona Lisa is very strange, but probably not for people with an avant-garde lifestyle like Apollinaire and Picasso . The author simply assumes that "people with an avant-garde lifestyle" find criminal acts completely normal. Poor artists who live next to such thinking neighbors, and until the reintroduction of the block keeper it is probably not long ...

After feeling a scientist who - also in the 21st century! - writes an article about Picasso, he led an eccentric life because he met friends in cafés in his free time and discussed painting, literature, music, philosophy and the latest developments in science and technology.

We ask ourselves anxiously what kind of life this scientist leads ...

Picasso and Apollinaire were really mocked because they were very fear of arrest by the Paris authorities. The background of this fear is not particularly funny, especially if you are horrified by many parts of today's media reporting in which refugees are disparaged from foreign countries.

Even then, the phenomenon was known that members of a group of people are very anxious. This group of people can be a nation (a group held together by the characteristic of the nationality), the population of a city that defines themselves as inhabitants of this city, or a committed village community (about a football club, the regular audience of a club, about the allotment class in the "Wo-Sich-Fuchs-Gute-Nacht-Sagen-Eck").

Even then, within this group of people, it was either the particularly privileged ones who want to receive their status by infiltration, or the particularly underprivileged who, due to fear of loss of the remains of their acquis, do not want to grant foreign access to their group. Even then there were media that supported both directions for the sake of headlines.

pronounced features of racism in the Paris of the beginning of the penultimate century , Apollinaire knew the nickname "macaroni weighed" (weigh = non -white person), all immigrants around Apollinaire and Picasso could occasionally report very malignant racist attacks, which above all about the press and the "Creme de la Creme" of Parisian society went out.

If you are interested in learning more about how and how quickly such a attitude contradicts of human dignity develops, we would like to point out an exciting and exciting contribution that has been broadcast for the first time in July 2014 (and repeated) in ZDFneo :

"The racist in us." helps to understand in a shuddering way, to look at at blog.zdf.de/ .

The media and the facts

There were still many variants of the story about the Mona-Lisa robbery, in which tons of completely different truths were written down and published. The media reports from back then could therefore also serve as the beginning of a small lesson about the importance of the truth and certainly proven facts in media reporting, and today's media reports as evidence that this importance has not improved over the past 100 years.

Today's reports about the then robbery of Mona Lisa also surprise with astonishingly critical takeover of “factual representations”, if e.g. For example, an article reports that Vincenzo Perugia could be locked in the Louvre, which Mona Lisa took out of the frame, hidden in his work clothes and transported out of the museum undisturbed.

The Mona Lisa is not painted on the canvas that can be rolled together, but on a stable panel made of poplar wood. Today, poplar wood of at least 2 cm thickness is used in such cases, in earlier times one was more wasteful with material when it came to exceptional orders such as a "portrait for eternity". The Mona Lisa is also not a small picture of how often you can read, but at most for painting the 16th century a small picture.

According to today's feeling, the Mona Lisa is certainly no longer one of the miniatures with almost half a square meter picture area, and above all, these 77 cm × 53 cm centimeter -thick wooden plate with oil paint is simply a mighty chunk, of which someone simply hides it in the (usually closely tight) work.

The media and the events

Another parallel to the press of today can be seen in the frequently expressed assumption that it was exactly the hype about this art robbery, which would have ensured that the Mona Lisa upset the artwork with absolute exceptional status. There are some artists who would still work in their hobby room today if they had not sparked a strong media spectacle through any “event” that had little to do with their art (and the art of these artists is often more spectacle than art).

Already at the first Biennale in Venice , in 1895, an Italian painter specified that the entire festival "was only a malignant speculation to make innkeepers and railway companies a profit", and such a presumption was certainly not only expressed for the event in Venice.

"Event" is in quotes because this is about the original sense of the word - the English word event simply means event, and a corresponding feeling creeps up headlear observers of an event quite often: it is about something happening, something, something, with meaning or without, the main thing is that the media report about it.

But at least the event-ending artists still make art when the media hype has made them known, while we rows with annoying girls with dogs on our arms as a trademark, annoying girls with a handbag as a trademark, annoying girls with blonde and dark hair and underground language power as a trademark, annoying girls with a full, annoying girl with Duck beak lips as a trademark and annoying girls with long names without a trademark who just do nothing, except to be there and to bother us almost insightfully with their sight.

As a feminist relapse into the Middle Ages, do you feel that an author does not call annoying boys here? If she wanted to, but the author was concerned with the fact that you can become famous without any approach to mind and without any productivity, and she simply did not come up with a male protagonist - all of the moderators will produce something.

The media and the knowledge of people

It is also astonishing how well some authors know what Picasso knew and what he didn't know:

Picasso certainly had no tendency towards mathematics, and he would certainly have known about Einstein around 1907 as well as all other artists, someone knows how to report.

That seems doubtful: Picasso was known to spend his time dedicated to painting in the Paris Cafés around Montmartre. These cafés were intellectual centers of the city, there was no cake (and also not for "being seen"), but coffee house culture cultivated, in the original meaning of the word, at a coffee, all noteworthy newspapers available free of charge, lively discussions about the tables.

As a "Viennese coffee house culture", this coffee house culture has been part of the intangible cultural heritage of UNESCO since 2011 , and even if the Viennese definitely deserves the honor of living this culture, they were not the founders of this culture.

The first coffee houses opened in the 12th century in the middle of the Arabian Peninsula in Mecca, in 1554 the coffee house in Istanbul and thus arrived on the European continent. Around 1650, coffee houses opened in Venice, Oxford and London, 1685 in Vienna and 1686 the first right (solid) coffee house in Paris.

this café Procope that became the popular meeting place of society and the discussion forum of literary and philosophers with its elegant but cozy ambience and the numerous offers "around the coffee", in Paris the coffee house culture was actually "invented" as an observation platform of intellectual life.

Picasso felt comfortable on this "observation platform" and eagerly took up the intellectual suggestions that his "gang à picasso" included not only avant-garde artists, but also writers and journalists and people with interest from natural sciences and mathematics.

The latest developments in these sciences were just as subject as the latest events in the world of art, the popular science magazines of the time and meetings of scientific books were just as much available as a reading material as the entire spectrum of the daily newspapers.

The fact that the latest discoveries in physics were also an issue in this artist circle is even expressly proven, the bestseller of Gustav Le Bon, published in 1905, "L'Volution de la Matière." , in which the author attributed any kind of radiation to the decay of atoms and the existence of a stable matter has been handed down as a topic of discussion with quotations.

This is exactly in 1905 Einstein presented four publications on various topics, each of which was worthy of Nobel: the light quantum hypothesis, the confirmation of the molecular structure of the matter through the 'brown movement', the quantum -theoretical explanation of the specific warmth of fixed body and the two work, which went into history as a special theory of relativity.

With this work, Einstein the year 1905 the Annus Mirabilis (miracle year) of physics , and even if it is not certain when it was expressed for the first time, this "explosion of genius" was certainly a topic and will also be able to have a good distance before 1907 - the large centers of science and culture were mostly in the big cities of Europe at that time and were mostly kept close contact with each other.

Picasso, who was urgently interested in everything in 1907, knew Einstein than he did not know him - and it is also not very clear to stamp the cosmopolitan and world -prospective artists in PicassoS as an ignorant ignorant.

The assessment of the "gang à picasso" probably allows a clear picture to the spirit of the rapporteur than to Picasso's level of information.

Therefore, more generous thinkers of Picassos intellectual skills also classify fundamentally differently, and in the discussions about mathematics and science you see one of the foundations for the emergence of cubism , for which Picasso with his picture "Les demoiselles d'Avignon" set the starting shot this year, more on this in the article "Art-O-Gramm: Picasso-famous art and their secret".

The media and the creative activities

It is part of the secret of the stunning success of the artist Picasso that he did not see art and science as a contactless antipoden. Other creative people feel art and science as not so different in thinking, because behind the work in both disciplines there is a fundamental creative process.

In order to discover or create new things, every creator (whether artist or researcher) must analyze the existing and understand in the crucial basic features; Only then does he have enough overview to be able to develop really new approaches.

Only the all-encompassing curiosity enables the inspiration that really creates new ones, an example in this direction is currently the “Artist in Residency” program from Cern , the European Organization for Mern Research. For this purpose, Cern wants to bring artists and physicists together and takes up artists from all over the world in the Cern laboratories near Geneva, who cooperate with the physicists and exchange ideas.

It is normal that such approaches in the usual media reporting hardly appear. Examples of the results that the rather uninspired development provides, we are currently seeing enough on the Internet business, about you and your successes are eagerly reported in the media:

A "social network" (a self-portrayal platform with a few functions) was as much worth as much as 2/3 of the German federal budget, an online shoe seller, and a kind of popcorn maker for start-ups, which produces further of these monopolizing sales platforms like other people, should be more worth more than Lufthansa after their stock market.

Picasso has expressed the topic of "coping with life through computer use" :

"Computers are useless. You can only give answers"

(found on www.zitate-online.de/ ).

The quote dates from 1946, and Picasso was not only very well informed about the innovations of the technology, but also warned a fundamentally important view - what the media that classify this quote under the "famous misconception" to the computer (e.g. "Computers are useless", sueddeutsche.de ), probably simply:

Computers can carry out tasks (faster than humans), but people have to remain responsible, he has to set these tasks, including ethics and morality, the computer does not set up as little as a weapon.

Communication via social networks can certainly connect people; The possibility of telling the computer what it has to do with certain data is also a prerequisite for continuing to control this data - if you leave your data to foreign companies, which process this data in a manner that is not known and incomprehensible to him, depending on the abundance of data, the control over his entire life.

Of course, Picasso was not only the prototype of a person who, with his life (and his loved ones, are the subject of the next scenes of this article), gave the gain rather than profit than media -interested media.

There is much more to report on him, on Kunstplaza in the "Art-O-Gram: Picasso-a long life for art" his life and in the "Art-O-Gramm: Picasso-born to the artist" . The fact that Picasso's life is unfortunately not only from crazy festivals is described in the "Art-O-Gram: Picasso-an artist and three wars" , in the "Art-O-Gramm: Picasso-Famous Art and her secret", "Art-O-Gramm:" Picasso-a Garant for Top Ranking " and" Art-O-Gramm: Picasso today "is about its art and its aftermath until today.