The Ultimate Picasso [Englisch] [Gebundene Ausgabe]

Hefty, elegant, and inclusive, The Ultimate Picasso hits most of these marks. It boasts more than 1,200 reproductions spanning the artist's entire career. Smoothly translated from the French, the it weaves biographical detail and discussions of the art into a concise narrative. Visual sources are all confidently accounted for. Yet the text does seem rather skimpy. The 16-page section on Guernica, for example, has barely two pages of actual discussion. The authors maintain their extremely tight focus on their artist, which is admirable. But in their concentration, they seem to compulsively refrain, perhaps by default, from acknowledging the external world as anything but resource or dalliance for their subject.

The authors' hyperbolic view of their subject--"Picasso did not paint nature, but the suffering of the men and women of his time, creating from it beauty and truth"--and the lack of any real psychological insight about, for instance, the continual hazard Picasso poses to the female form, may be considered a flaw. But in this old-fashioned portrait of the male artist as genius, so certain is it of the gulf between the common and the exalted, human flaw does not exist, unless it belongs to somebody else. --Cathy Curtis

Hefty, elegant, and inclusive, The Ultimate Picasso hits most, though not all, of these marks. It offers more than 1,200 reproductions (nearly 800 in color) spanning the artist's entire career. Smoothly translated from the French, the book weaves biographical detail and discussions of the art into a concise narrative. ("Olga became pregnant in the summer of 1920, and in Picasso's work forms blossomed and flesh took on the massive quality of stone.") The three authors are all experts--Léal and Bernadac are (respectively) present and former curators of the Musée Picasso in Paris, and Piot coauthored the catalogue raisonné of Picasso's sculpture. They clearly explain visual sources, duly acknowledge leading art historians' interpretations, and choose good quotes from contemporaries. Yet the text can be surprisingly skimpy. The 16-page section on Guernica, for example, has barely two pages of discussion about the painting and its genesis. The authors keep an extremely tight focus on their subject, with only as much mention of Picasso's contemporaries or the outside world as is absolutely necessary.

The major flaws, however, are the authors' hyperbolic view of their subject ("Picasso did not paint nature, but the suffering of the men and women of his time, creating from it beauty and truth") and the lack of any psychological insight about the repeated devastation Picasso wreaks on the female form. In this old-fashioned portrait of the male artist as genius, human failings do not exist, unless they belong to somebody else. --Cathy Curtis