Picasso’s I was 24 one afternoon in May. 1906 He came with his brushes, canvases, and paints at a time when the storm was approaching, and he brought first stable couple, Fernande Olivier, both on the backs of muleswith divineisolated village of Berguedà on the outskirts Pedraforcasurrounded Sierra del Cadi. Arriving from Paris, they spent about nine weeks in the Pyrenean town of Lleida, which at the time had a population of 700. During this time, the artist made 302 pieces featuring his people and ocher landscapes, including sketches, drawings and oil paintings. It was “a transformative and essential stay for him, and it helped him.” overcoming the artistic crisis that hinders it. He came and left as an eighth century painter germ of modernity” and cubism, The inn explains under the balcony of his room Tampanada Limewhere the couple stays, writer Inaki RubioSaving this little-known chapter in the life of the Malaga genius ‘Pau de Gosol’ (Black Eater).
Inside Picasso YearCommemorating half a century of the painter’s death, the author’s new book ‘Morts, qui us ha mort’ (2021), one of the innovations of the Catalan publishing house ‘rentrée, will be released in 2021 (in Spanish in 2024) and Exhibition prepared by the Reina Sofia Museum This November of Madrid is focused on 1906, the year of transformation.
Picasso came from recreating classical, realistic landscapes and landscapes and figurative portraits. And that year in Gósol he painted ‘Harem’, which features four women who might be the same (experts say it’s Fernande) from different perspectives and a man sitting himself like Bacchus. “It is ‘precursor’ in terms of composition and theme.Avignon ladiesHis ‘(1907)’ (1907), which reflects a brothel and is Picasso’s first modern painting to break away from realism and open the doors of cubism, adds Rubio, an adopted son from Barcelona and Andorra, who aims to paint rather than write an article. No longer as Pablo, but as Pau, the weeks, even days, when he signed the letters he sent to his friend sculptor Enric Casanovas, using “novelist tools” to follow in Picasso’s footsteps, some of the letters he exhibits today are the Picasso Center of the Gósol Town Hall and reproductions of his works.
The painter came from Paris, where he was not yet known, and lived “in bohemian instability” in a workshop in Montmartre. He was searching for his artist identity, but he suffered a pain. artistic block”the author states: He was an art collector and was painting a portrait of the author, Gertrude Stein, who was his first patron. But after countless posing sessions she couldn’t complete the face. So she left her face blank and, on the advice of the Casanovas, fled to Gósol, where she also planned to conceive her first child from Fernande.
Inspired by his discovery of the Romanesque carving of Our Lady of Gósol with her hieratic, stern and expressionless face in the old church, Rubio approaches the solution he needed for his portrait by painting more abstract faces with almond-shaped eyes but evoking masks endowed with emotion, and breaking perspectives. Gertrude Stein. This is what he did as soon as he returned to Paris; finished with the new style that cubism was already advancing, and without the boss pose. The novelist says that his brother said he wouldn’t like the result because he didn’t look like him. “You will like it”replied Picasso, already confident in his creative direction.
Rubio talked with the descendants of the inhabitants of Gósol, played by Picasso, went to the reference book. Jèssica Jaques, ‘Picasso in Gósol: a summer for modernity’and various documents. One of them is the Catalan Card, a small notebook kept in the Museu Picasso in Barcelona and a copy of which is on display in Gósol. It is filled with sketches and drawings outlining the birth of Cubism and notes such as Apollinaire’s address or a poem by Josep Carner.
The author enlisted the help of Joan Ganyet, a neighbor and descendant of some of the depicted, who opened her home to him. cal benetbecame the artist’s haunt and arranged for him to visit the room where he was staying in Cal Tampanada, which is today a private home.
mysterious herminia
In the hostel, the painter befriended Josep Fontdevila, the old man who runs the hostel, and bequeathed him a portrait in the style of these masks. Many other works were dedicated to Fernande (preferably in the nude ‘toilet’ scenes) and to the women of the town, whose men mostly worked outside, in the fields as shepherds or smugglers. “Over the years it has become clear that he was macho and abusive, but from a young age his relationship with women was tremendous. Fernande was very controlling in Paris,” says the novelist. One of these women in particular, “Mysterious Herminia appearing as ‘old maiden’ with mysterious references in 17 drawings”. Thinking the name was fake, Rubio tried to identify it from old photographs without finding any definitive proof. It is in this so-called infatuation or fascination with the fiction that the novelist is more drawn to fiction.
Almost overnight, Picasso left Gósol once again with the help of mules, and this time with mules, a ‘booty’ of 301 works set off for Paris. Only one remained, the portrait of his now friend Josep Fontdevila.