LYCOS RETRIEVER 
Pablo Picasso: Art
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Les Moissonneurs, indicative of Picasso's new direction, is a near reduction to pure contour used to create volume. The thickness of the hands and the sleepy quality of the figures cause one to think of weighty, unmoving, ancient statuary. Even with the balance and finish in this drawing, the work is recognized as a study for a painting at the Museum of Modern Art (MOMA), called
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Following World War II, Picasso's work became less political and more gentle. He spent the remaining years of his life in an exploration various historical styles of art, making several reproductions of the work of earlier artists.
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As certain works, for example the Cubist pieces, tend to be associated in the public mind with Picasso it is important to realise quite how talented Picasso was as a painter and draughtsman. He was capable of working with oils, watercolours, pastels, charcoal, pencil, ink, pastels or indeed any medium with equally high facility. With his most extreme cubist works he came close to deconstructioning a complex scene into just a few geometric shapes while at the same time being capable of photo-realistic pen and ink sketches of his friends. Picasso had a massive talent for almost any artistic endeavour he turned his mind to, extensive academic training, and a ferocious work-ethic.
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Scholars generally divide the cubist innovations of Picasso and French painter Georges Braque into two stages. In the first stage, analytical cubism, the artists fragmented three-dimensional shapes into multiple geometric planes. In the second stage, synthetic cubism, they reversed the process, putting abstract planes together to represent human figures, still lifes, and other recognizable shapes.
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The next section of the exhibition is devoted to the important group of erotic works Picasso produced at Boisgeloup, the house he bought in 1930 as a studio and trysting place for his new love, Marie-Thérèse Walter. Some twenty-nine years his junior, she provided the artist - now almost fifty and in the last stages of his unhappy marriage to the Russian ballerina Olga Kokhlova ("the castrator") - with a new sexual and artistic lease on life.
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SFMOMA welcomes current members of KQED — media sponsor for the San Francisco presentation of Picasso and American Art — to the second annual KQED Member Day at SFMOMA. Building on the success of 2006's event, held in conjunction with The Surreal Calder, this special program gives KQED members a chance to visit the galleries free of charge.
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