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Welcome to Great Art.

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For the past few years, we've been
filming the biggest exhibitions,

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art galleries
and museums in the world,

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exploring some of the greatest
artists and art in history.

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Not only
do we record landmark shows,

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but we also secure privileged access
behind the scenes.

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We then use this as a springboard

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to take a broader look
at extraordinary artists.

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In the autumn of 1907,

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a young Spanish artist showed
his Parisian friends a new painting.

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So horrified were they,
that he rolled it up

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and hid it away for a decade.

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And yet, it's a painting that
changed the course of art history.

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The artist was Pablo Picasso.

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And in this film, we ask:

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where exactly did this genius
of the 20th century come from?

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This is the dramatic and revealing
history of young Picasso.

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JAUNTY MUSIC

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Picasso es, como tantos artistas
del principio del siglo,

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una mezcla interesante
de muchisima influencia.

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Habia un poeta espanol,
Antonio Machado,

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que decia que la patria
de un hombre es su infancia.

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La infancia de Picasso es malaguena
y su patria es malaguena.

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El lo ha recordado
durante toda su vida.

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Ha recordado sobre
todo la luz del Mediterraneo.

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Ha recordado los toros que visitaba
con sus padres y sus tios,

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aqui en Malaga.

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Lleva impregnado el flamenco.

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Picasso es malagueno, pero tambien
es barcelones, tambien es corunes,

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y tambien es, al final,
un artista que se hace en Paris,

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pero su patria, su infancia,
es Malaga.

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Aunque Picasso estudio a fondo

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las tradiciones mas importantes

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del arte,
germano, italiano, frances,

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hay algo en su obra
que desde mi punto de vista

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nos lleva directamente al sur... a
ese sur hibrido, ese sur sintetico,

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ese sur en el que distintas culturas
historicamente han convivido,

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se han encontrado como la hebrea,
la arabe, la cristiana.

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Yo creo que la clave
para entender eso esta

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en la misma obra de Picasso,

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porque tiene elementos, formas,

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claves propias de culturas distintas

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a su lugar de origen
que es el sur de Espana.

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CHEERING AND APPLAUSE

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Aqui, en Malaga,
Picasso disfruta de los toros...

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..disfruta de las palomas.

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Eso lo acercaba mucho a Andalucia,

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a sus raices, a sus origenes.

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Estamos en la misma case
donde nacio Pablo Ruiz Picasso,

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el 25 de octubre de 1881.

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Esta casa habia sido habitada antes
de la boda del padre de Picasso,

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por el padre
y por dos hermanas del padre.

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Pero a raiz de la boda de Don Jose
Ruiz Blasco con Maria Picasso Lopez,

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la familia, ya el matrimonio,
viene a vivir aqui.

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En esta casa
que es donde nace Picasso.

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La familia tiene
una gran influencia en Picasso,

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el caracter de Dona Maria,
la profesion de Don Jose,

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conforman evidentemente
un importante factor de influencia

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en su vida y en su obra.

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Picasso crece en una familia pequena
burguesa malaguena en la que

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a traves de la profesion de su padre
y los amigos de su padre

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entra en contacto directo

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con la pintura, con el dibujo,
con el color.

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Aqui hace sus primeros dibujos,
sus primeras tablitas de pintura.

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La infancia de Pablo Picasso
fue una infancia excitante,

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porque estaba vinculado al arte,
ya que su padre era maestro,

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y por otro lado fue una infancia
llena de estimulos visuales.

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Malaga era una ciudad pequena.
Vivia en una parte

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en la cual
habia mucha vida en la calle

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y eso probablemente afecto

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su manera de entender el mundo.

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Malaga
and the presence of his father

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were the key points
of his influences.

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I would say that
when his father was asking him

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to draw a pigeon
or to go to a corrida with him,

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he was building his son
with very strong Spanish roots.

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We cannot neglect the fact

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that Don Jose is very important
for Pablo as an inspiration.

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He realised that
Pablo was more than talented,

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and that
this needed to be supported.

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In 1891, a few days
before his tenth birthday,

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Pablo arrived in a very
different part of Spain, La Coruna,

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on the northern Atlantic coast.

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Pablo's father, Jose,
had secured a teaching role.

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And it was here that
he really taught his young son

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how to paint with oils.

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MAN: In La Coruna,
my father did not go out

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unless it was to go
to the art school.

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On his return, he painted.
But nothing more.

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The rest of the time, he looked out
the window at the falling rain...

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and then, in the end,
he abandoned painting for good.

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Instead, he gave me
his colours and his brushes,

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and he never painted again.

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Picasso llega a La Coruna el 14 de
octubre 1891 proveniente de Malaga

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y erito toda la familia
hicieron el viaje en barco.

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Picasso, el primer ano,

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se apunta en el instituto
de estudios secundarios

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y la escuela de bellas artes
estaba en el mismo edificio

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que el instituto de secundaria.

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Y, a principios de 1895, se crea
una nueva asignatura en la escuela

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que es figura del natural

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y es el propio padre
el que paga a los modelos

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para que posen para
Picasso y sus otros condiscipulos.

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Entonces, es aqui
donde este salto de Picasso

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va a ser mas considerable,

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porque en dos o tres meses
empieza a hacer muchos retratos.

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Picasso va a conseguir
unas criticas muy elogiosas

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con que ya lo estan comparando
con Giotto y con Rafael Sanzio.

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Estas pinturas mas que ser
consideradas unas obras de un genio,

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hemos de pensar que son unas obras
de un nino de 13 anos

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que ya apunta maneras.

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My grandfather realised that
the artistic scene was in Barcelona.

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Of course, he was very young,
13, 14 years old.

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And there is
a part of luck in his life,

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because when his father
was appointed in La Coruna,

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was offered to make a switch
with someone in Barcelona,

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it was just luck,

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because Pablo was going to be part
of the artistic scene of Spain,

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and from Barcelona,
everything was possible.

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Muy poco
despues de llegar a Barcelona,

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Picasso ya se matricula
en la escuela de Llotja.

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La formacion en esa epoca
era realmente muy anticuada.

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A los jovenes estudiantes,
no les gustaba demasiado

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porque la academia
era basicamente repeticion, copia.

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Picasso era muy reacio, digamos,
a esa formacion, pero en cambio,

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se da la gran paradoja que esa
formacion que Picasso tuvo academica

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en La Coruna, en Barcelona
y, posteriormente, en Madrid,

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fue decisiva
para su formacion como artista.

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Picasso, a pesar de que es
un artista que durante toda su vida

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querra romper las reglas
y transgredir, digamos,

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todos los sistemas de ensenanza
que tuvo en su formacion,

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a pesar de eso es un artista que
tiene una base muy solida, muy dura,

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una base que le permitio
posteriormente desarrollarse de

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una forma mas solida como artista.

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El Picasso que esta en Barcelona
es un artista todavia en formacion.

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Muy eclectico, en el sentido

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de que se nutre
de diferentes influencias

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que le llegan desde fuera,

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pero todavia no ha definido
un estilo propio...

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pero mientras tanto
las influencias

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que recibira seran
completamente multi-direccionales.

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I think that Barcelona
was important for two reasons.

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The first, something more academic.

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On the other side,
you have the people of Barcelona

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and those exotic subjects,
like prostitutes or local people.

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And I think that Pablo in Barcelona

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discovered how wide was the scope
to see through the people.

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And of course, Barcelona
was offering a lot of inspiration.

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Quan Picasso es comenca a moure
en el mon alternatiu,

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en els bars
i els cafes de Barcelona,

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en un primer moment ell es relaciona
amb una generacio d'artistes joves

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que encara no han adquirit

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un estatus important
en el mon artistic.

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Picasso es un jove artista

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qui encara esta intentant navegar
el mon artistic

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pero a poc a poc s'anira relacionant

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amb els grans representants
de l'art catala,

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que son artistes
que en aquest primer moment

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no tenen contacte amb Picasso.

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He, as a teenager, gets very much
involved with a group of artists

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around the cafe of Els Quatre Gats,
who were politically involved,

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because they were sympathisers of
anarchism and Catalan nationalism.

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He must have been stricken

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by this very lively community
of young artists.

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Cuando empieza a frecuentar Quatre
Gats, Picasso va a conocer a Casas,

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a Ramon Casas, y a Santiago Rusinol.

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Estos no van a tener solamente
influencia en su arte,

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sino tambien en su forma de ver.

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Que es un artista?

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Casas y Rusinol se habian ido
muy jovenes a Paris,

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habian vivido la vida bohemia
y tomaban morfina,

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era una serie de
personajes muy diferentes

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a lo que era el padre
que era muy convencional.

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Entonces, en este momento,
cuando Picasso empieza a abrirse

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y es cuando empieza a pensar
un poco en Paris.

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Es en Barcelona,
a traves de este contacto

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con sus companeros un poco mayores
que ellos, que le hablan de Paris,

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de todas las maravillas
que hay en Paris.

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Tenemos este maravilloso retrato
del ano 1900,

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que es cuando Picasso esta ocupando

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el estudio de Calle Riera de San
Juan junto con su amigo Casagemas.

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En esta obra vemos que Picasso
ya ha cambiado plenamente de estilo

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con lo que esta haciendo
en el momento anterior.

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La hermana, Lola, habia sido
una de sus primeros modelos.

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Esta obra es muy peculiar

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porque vemos que aparece Lola sin
rostro, pero es un efecto optico.

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Si abrimos una ventana
por el que entra el sol a raudales

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y nosotros estamos en la penumbra,
nuestros rasgos no se aprecian,  no?

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Como Picasso es un pintor
fundamentalmente realista,

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el esta tratando
tal como ve a su hermana.

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Lo mas importante de esta obra

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es que es uno de los pocos cuadros
de los talleres de Picasso.

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Picasso tiene muchos talleres,
tambien aqui en Barcelona,

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cambia mucho de taller y vemos unas
representaciones desde las ventanas

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y desde las terrazas
de estos talleres, los cerrados,

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del exterior...

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00:18:13,820 --> 00:18:16,980
..de paisajes urbanos,
de los techos de Barcelona,

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estan hechos siempre desde
las ventanas de estos talleres.

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00:18:20,660 --> 00:18:22,460
Pero es uno de los pocos

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que representa
el taller interior de Picasso.

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Y vemos aqui, en el suelo una serie
de tubos de pintura aplastados,

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que es un poco la reivindicacion de
que estamos en su taller de trabajo.

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En 1900 cuando pinta este retrato
tiene 18 anos,

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entonces,
es un chaval, un adolescente

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que esta abriendose al mundo,

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esta aprendiendo
y esta cogiendolo todo.

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Esta busqueda de color,
esta busqueda de libertad,

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esta busqueda de
la explosion de la vida.

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Picasso first went to Paris
in the autumn of 1900

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because one of his paintings
had been accepted

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at the Universal Exhibition
of that year,

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which was
the largest ever organised.

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It was, of course,
a huge opportunity for him

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to finally experience the big city
everybody was talking about.

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MAN: Pablo and I go to
cafe-concerts or the theatre.

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They think
they're doing Spanish dances,

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ole ole, caramba, caramba, which
left us in doubt about our origins.

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00:19:48,900 --> 00:19:52,620
The Boulevard de Clichy
is full of crazy places.

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00:19:52,620 --> 00:19:58,300
Everything is fanfare, tinsel, and
papier-mache stuffed with sawdust.

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Tell our friends to come to Paris,

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because there's room for everybody
and money for anyone who works.

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Rob, kill, assassinate,
do anything to come.

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Carles Casagemas.

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En 1900, il fait son premier voyage
en France, a Paris.

225
00:20:16,340 --> 00:20:20,140
Il va faire beaucoup
d'allers-retours entre 1900 et 1904,

226
00:20:20,140 --> 00:20:23,860
et il va choisir de s'installer
definitivement a Paris en 1904.

227
00:20:25,060 --> 00:20:28,020
Et Montmartre, en fait,
est une colonie espagnole.

228
00:20:28,020 --> 00:20:30,140
Il y a enormement
d'artistes espagnols a Paris.

229
00:20:31,220 --> 00:20:36,340
Et Picasso lui-meme s'est defini
comme un exile espagnol a Paris.

230
00:20:36,340 --> 00:20:40,580
Donc il y a cette double culture qui
va toujours persister chez Picasso.

231
00:20:40,580 --> 00:20:43,460
Il restera toujours espagnol,
et en meme temps,

232
00:20:43,460 --> 00:20:47,260
il va evidemment se nourrir,
pas seulement de l'art parisien,

233
00:20:47,260 --> 00:20:49,740
mais de toute
la production d'avant-garde

234
00:20:49,740 --> 00:20:52,380
qui va se derouler
dans la capitale francaise.

235
00:20:53,540 --> 00:20:56,660
Quand il arrive a Paris,
il ne parle pas francais.

236
00:20:56,660 --> 00:20:59,940
Donc il est toujours
avec ses compatriotes espagnols,

237
00:20:59,940 --> 00:21:03,060
et dans cette periode-la,
il signe sur ses carnets,

238
00:21:03,060 --> 00:21:06,020
"Yo, Picasso", "moi, Picasso".

239
00:21:06,020 --> 00:21:09,340
C'est deja une declaration, en fait.

240
00:21:09,340 --> 00:21:10,620
Et qui, du coup,

241
00:21:10,620 --> 00:21:13,300
va faire aussi cette identite
particuliere de Picasso,

242
00:21:13,300 --> 00:21:16,780
qui se positionne d'emblee
comme quelqu'un qui veut conquerir

243
00:21:16,780 --> 00:21:18,620
la scene artistique parisienne.

244
00:21:22,620 --> 00:21:26,180
MAN:
We've already launched into work.

245
00:21:26,180 --> 00:21:29,860
Tomorrow we'll light the heater,
and we'll have to work furiously.

246
00:21:29,860 --> 00:21:34,020
Whenever there is daylight, we are
in the studio painting and drawing.

247
00:21:39,020 --> 00:21:44,500
We all got together at Petit-Pousset
and we all got drunk.

248
00:21:44,500 --> 00:21:50,420
Utrillo wrote nursery rhymes,
Peio sang bawdy songs in Latin,

249
00:21:50,420 --> 00:21:55,180
Picasso made sketches of people,
and I wrote verses.

250
00:21:55,180 --> 00:21:57,500
Carles Casagemas.

251
00:21:58,780 --> 00:22:01,180
Lo que pasa en Paris basicamente

252
00:22:01,180 --> 00:22:05,060
es que se le multiplican
los referentes.

253
00:22:05,060 --> 00:22:10,780
Por ejemplo, la gran influencia
que tuvo en 1900

254
00:22:10,780 --> 00:22:13,020
es sobre todo Toulouse Lautrec,

255
00:22:13,020 --> 00:22:16,580
pues el pudo ir a Moulin Rouge
o a Moulin de la Galette,

256
00:22:16,580 --> 00:22:21,260
son espacios que el conocia
solo a traves de publicaciones

257
00:22:21,260 --> 00:22:24,940
o a traves de la memoria oral
de otros artistas.

258
00:22:26,980 --> 00:22:29,260
Por tanto,
ese Picasso que va a Paris

259
00:22:29,260 --> 00:22:33,500
es un artista
que cambia completamente.

260
00:22:41,260 --> 00:22:45,180
MAN: If you were to see us,
you wouldn't recognise us,

261
00:22:45,180 --> 00:22:48,620
because we've finally become
such hard workers.

262
00:22:48,620 --> 00:22:52,460
All this about women must seem
to take all our strength, but no!

263
00:22:52,460 --> 00:22:55,700
Not only
do we spend our lives "fondling",

264
00:22:55,700 --> 00:22:58,220
but I've almost finished a painting,

265
00:22:58,220 --> 00:23:01,580
and, to be frank,
I think I've just about sold it.

266
00:23:01,580 --> 00:23:06,460
Because of this, we are saying
goodbye to the bachelor life...

267
00:23:06,460 --> 00:23:08,780
As of today,
we are going to bed at 10:00,

268
00:23:08,780 --> 00:23:10,500
and we're not going out any more.

269
00:23:12,180 --> 00:23:13,700
Pablo Picasso.

270
00:23:16,420 --> 00:23:21,900
The nightlife was much more exciting
than Barcelona.

271
00:23:21,900 --> 00:23:27,860
Revues, music halls,
cabarets, Pigalle, Moulin Rouge.

272
00:23:27,860 --> 00:23:30,380
You can see it in the artworks.

273
00:23:30,380 --> 00:23:34,140
Pablo moved from
the individual human figures

274
00:23:34,140 --> 00:23:36,500
of poor people, of prostitutes,

275
00:23:36,500 --> 00:23:40,140
to a crowd of rich people
enjoying themselves,

276
00:23:40,140 --> 00:23:44,180
spending money, with
beautiful women, beautiful dresses.

277
00:23:44,180 --> 00:23:46,620
This is Paris in 1900.

278
00:23:46,620 --> 00:23:51,620
I can understand that Pablo would
have walked to Paris to see that.

279
00:23:51,620 --> 00:23:54,580
And there were rumours
that in Paris, in Montmartre,

280
00:23:54,580 --> 00:23:57,820
the collectors and art dealers
were attracted

281
00:23:57,820 --> 00:24:00,260
by new artists
and new forms of creation.

282
00:24:14,260 --> 00:24:17,980
En el Museo Picasso de Barcelona
tenemos mucha suerte,

283
00:24:17,980 --> 00:24:20,860
porque podemos ver
la evolucion de Picasso...

284
00:24:20,860 --> 00:24:23,460
Y realmente podemos ver este salto

285
00:24:23,460 --> 00:24:26,220
que va a hacer en Paris
a partir de 1900.

286
00:24:27,540 --> 00:24:30,940
Picasso realiza su primer viaje
con su amigo Casagemas

287
00:24:30,940 --> 00:24:34,940
y, luego,
se le uniran Pallares y Casas,

288
00:24:34,940 --> 00:24:38,380
en septiembre de 1900
y va a estar cuatro meses.

289
00:24:38,380 --> 00:24:42,140
Picasso va a volver a Espana,
va a estar unos meses en Espana...

290
00:24:42,140 --> 00:24:45,020
para regresar
en 1901 en el mes de mayo,

291
00:24:45,020 --> 00:24:48,820
con motivo de su primera exposicion
en la capital francesa.

292
00:24:50,100 --> 00:24:53,140
Es una exposicion
que lo organiza Pere Manach,

293
00:24:53,140 --> 00:24:58,460
que era un joven marchante catalan
que Picasso conocio en Paris en 1900

294
00:24:58,460 --> 00:25:01,300
y le habia organizado esta
exposicion en la Galeria Vollard,

295
00:25:01,300 --> 00:25:03,460
la importante Galeria Vollard.

296
00:25:03,460 --> 00:25:05,340
Esta es una obra muy importante,

297
00:25:05,340 --> 00:25:07,940
porque vemos
como Picasso ya ha absorbido

298
00:25:07,940 --> 00:25:10,820
todos los estilos artisticos
que se habian desarrollado

299
00:25:10,820 --> 00:25:12,780
unos anos antes en Paris,

300
00:25:12,780 --> 00:25:17,100
como, por ejemplo, vemos que coge
la tematica de Toulouse Lautrec...

301
00:25:18,300 --> 00:25:20,340
..coge la pincelada de Van Gogh,

302
00:25:20,340 --> 00:25:23,380
esa pincelada gruesa y corta,
que es de Van Gogh,

303
00:25:23,380 --> 00:25:29,860
pero coge los colores
de los otros impresionistas...

304
00:25:29,860 --> 00:25:32,380
..vemos este conjunto de influencias

305
00:25:32,380 --> 00:25:35,700
que Picasso absorbe
para luego hacer su propio arte.

306
00:25:47,060 --> 00:25:48,860
When they came to Paris,

307
00:25:48,860 --> 00:25:52,500
there was a big excitement
of visiting a new place

308
00:25:52,500 --> 00:25:56,580
with new girls, with
a world of entertainment, in fact.

309
00:25:56,580 --> 00:26:00,740
But Casagemas had
a natural problem of impotence...

310
00:26:01,940 --> 00:26:05,180
..so his attraction to women
was limited.

311
00:26:05,180 --> 00:26:07,580
Of course,
Pablo didn't have the same problem.

312
00:26:09,060 --> 00:26:12,100
They meet this girl, Germaine.

313
00:26:12,100 --> 00:26:16,420
And Casagemas is in love with her,
and Pablo is getting her.

314
00:26:16,420 --> 00:26:19,220
And of course,
Casagemas was devastated.

315
00:26:30,460 --> 00:26:32,980
When we think about
the drama of the death of Casagemas,

316
00:26:32,980 --> 00:26:35,460
you have to understand
the circumstances.

317
00:26:40,020 --> 00:26:43,780
It was in a cafe.
Germaine was seated with friends

318
00:26:43,780 --> 00:26:46,740
and suddenly, Casagemas came to her.

319
00:26:48,060 --> 00:26:51,860
He had a revolver and told her,
"This is for you,"

320
00:26:51,860 --> 00:26:54,620
and he shot at her.

321
00:26:54,620 --> 00:26:56,300
But he missed her.

322
00:26:56,300 --> 00:27:01,020
He didn't realise, because
she fainted and fell on the floor.

323
00:27:01,020 --> 00:27:05,340
Then he said, "This is for me,"
and he killed himself.

324
00:27:11,420 --> 00:27:14,500
When you imagine
that Pablo wasn't there,

325
00:27:14,500 --> 00:27:16,020
it's extremely painful to imagine,

326
00:27:16,020 --> 00:27:20,260
but he had to face
the death of his friend

327
00:27:20,260 --> 00:27:23,420
and to think that he was maybe
the reason of his death.

328
00:27:23,420 --> 00:27:29,700
So the Blue Period was fuelled
with this tragic moment.

329
00:27:29,700 --> 00:27:31,900
I think that, for Pablo,

330
00:27:31,900 --> 00:27:37,060
it was a struggle to try to survive
the death of his friend.

331
00:27:37,060 --> 00:27:41,540
The one he came to Paris with
and the one who never came back.

332
00:28:04,420 --> 00:28:05,900
MAN: It was while thinking

333
00:28:05,900 --> 00:28:09,860
that Casagemas was dead
that began me painting in blue.

334
00:28:16,060 --> 00:28:19,060
I'm showing what
I'm doing to the artists here,

335
00:28:19,060 --> 00:28:21,620
but they think
there's too much soul and no form.

336
00:28:21,620 --> 00:28:22,940
It's very funny.

337
00:28:22,940 --> 00:28:25,980
You know how to talk
to people like that,

338
00:28:25,980 --> 00:28:32,060
but they write very bad books
and they paint idiotic pictures.

339
00:28:32,060 --> 00:28:34,100
That's life.

340
00:28:34,100 --> 00:28:35,540
Pablo Picasso.

341
00:28:38,420 --> 00:28:41,380
La raison pour laquelle
Picasso cree, a cette epoque,

342
00:28:41,380 --> 00:28:45,380
la periode bleue,
je pense qu'il se cherche.

343
00:28:45,380 --> 00:28:47,980
Il se cherche
une identite artistique.

344
00:28:47,980 --> 00:28:51,540
Il cherche ce que lui a a dire
en tant qu'artiste.

345
00:28:51,540 --> 00:28:54,580
Et ce traitement tres monochrome
de la periode bleue

346
00:28:54,580 --> 00:28:56,820
est une des premieres manifestations

347
00:28:56,820 --> 00:28:59,220
de cette identite artistique
de Picasso.

348
00:29:02,980 --> 00:29:08,060
Lo que se conoce como periodo azul
canonicamente empieza en Paris

349
00:29:08,060 --> 00:29:10,100
al finales de en 1901

350
00:29:10,100 --> 00:29:13,620
pero basicamente se desarrolla
en Barcelona

351
00:29:13,620 --> 00:29:16,020
durante los anos siguientes.

352
00:29:16,020 --> 00:29:19,140
Con escenarios
del centro de Barcelona

353
00:29:19,140 --> 00:29:22,540
donde aparecen
muchas de las personas

354
00:29:22,540 --> 00:29:25,020
que vemos en
las pinturas de Picasso.

355
00:29:27,180 --> 00:29:28,860
Se encuentra con una ciudad,

356
00:29:28,860 --> 00:29:32,100
que crea como todas
las grandes ciudades industriales,

357
00:29:32,100 --> 00:29:34,380
grandes bolsas tambien
de marginacion.

358
00:29:35,620 --> 00:29:37,060
En cierta manera se forman

359
00:29:37,060 --> 00:29:41,020
unos contrastes
a nivel social extraordinarios.

360
00:29:42,460 --> 00:29:47,180
Se contrasten le da a Picasso
unos inputs extraordinarios

361
00:29:47,180 --> 00:29:50,460
desde el punto de vista creativos.

362
00:29:50,460 --> 00:29:54,860
Todo lo veremos en diferentes
momentos de la creacion picassiana

363
00:29:54,860 --> 00:29:57,060
pero muy especialmente
en la epoca azul.

364
00:30:05,420 --> 00:30:09,420
Hay los retratos que pertenecen
a personalidades reales,

365
00:30:09,420 --> 00:30:16,380
amigos del propio artista que son
perfectamente identificable...

366
00:30:16,380 --> 00:30:19,460
y hay otros basicamente
personajes femeninos

367
00:30:19,460 --> 00:30:21,500
de clase social baja, pobres,

368
00:30:21,500 --> 00:30:25,940
que muchos de ellos en realidad
pienso son mas bien sublimaciones,

369
00:30:25,940 --> 00:30:29,060
recreaciones de
posibles personajes reales.

370
00:30:29,060 --> 00:30:33,260
No estamos hablando
tanto de personas que existen

371
00:30:33,260 --> 00:30:35,140
sino casi de conceptos.

372
00:30:36,500 --> 00:30:41,860
A Picasso no le interesa
tanto retratar a una mujer pobre

373
00:30:41,860 --> 00:30:45,540
como retratar
el concepto de pobreza.

374
00:30:45,540 --> 00:30:49,460
Por tanto, digamos la epoca azul
si es cierto que hay

375
00:30:49,460 --> 00:30:54,300
una vinculacion, un sustrato real
de los personajes,

376
00:30:54,300 --> 00:30:57,500
pero tiene una gran carga simbolica.

377
00:30:57,500 --> 00:30:59,820
Es una obra muy simbolista
de Picasso.

378
00:31:13,140 --> 00:31:18,940
Picasso is special, in that
he reinterprets his sources

379
00:31:18,940 --> 00:31:21,140
in a very personal way.

380
00:31:21,140 --> 00:31:25,900
La Vie, of 1903, is the masterpiece
of Picasso's Blue Period

381
00:31:25,900 --> 00:31:30,900
that was painted in Barcelona,
but very much thinking back

382
00:31:30,900 --> 00:31:36,140
to the experience of Paris
with his friend, Carlos Casagemas.

383
00:31:36,140 --> 00:31:41,140
It's an allegory
of both life and love,

384
00:31:41,140 --> 00:31:44,060
and in many ways, of an artist,

385
00:31:44,060 --> 00:31:45,940
like Picasso's, coming of age.

386
00:32:05,420 --> 00:32:09,660
In 1904, Picasso moved
into a ramshackle building that,

387
00:32:09,660 --> 00:32:13,500
on multiple floors,
housed numerous artists and writers.

388
00:32:13,500 --> 00:32:15,540
This was known as the Bateau-Lavoir,

389
00:32:15,540 --> 00:32:17,700
as it reminded some
of the laundry boats

390
00:32:17,700 --> 00:32:19,700
that were docked on the River Seine.

391
00:32:21,500 --> 00:32:24,580
This was to be Picasso's home
for five years,

392
00:32:24,580 --> 00:32:29,700
and it was also where he would have
his first significant relationship.

393
00:32:29,700 --> 00:32:34,900
Picasso met Fernande Olivier,
who was a married artist's model,

394
00:32:34,900 --> 00:32:40,100
soon after he moved into the
Bateau-Lavoir in the spring of 1904.

395
00:32:40,100 --> 00:32:43,860
And she would be the muse
of some key moments

396
00:32:43,860 --> 00:32:47,900
in the young Picasso's
artistic development.

397
00:32:47,900 --> 00:32:50,700
Her real name was Amelie Lang.

398
00:32:50,700 --> 00:32:53,940
And they entered into
a kind of relationship

399
00:32:53,940 --> 00:32:56,820
which was
both artistic and personal.

400
00:32:56,820 --> 00:33:01,900
I think that Fernande
was a classical muse in a way,

401
00:33:01,900 --> 00:33:04,740
but also, she was open
to any kind of creativity.

402
00:33:04,740 --> 00:33:07,860
And this was very important.

403
00:33:07,860 --> 00:33:10,660
She said that he was very jealous,

404
00:33:10,660 --> 00:33:15,140
locking her up and being after her
in a very jealous way.

405
00:33:21,220 --> 00:33:24,420
WOMAN: The Spanish painter is often
in front of the door to the building

406
00:33:24,420 --> 00:33:27,540
with his noisy gang
of Spanish artists.

407
00:33:27,540 --> 00:33:32,020
I couldn't resist his magnetism,
and went with him to his studio.

408
00:33:33,620 --> 00:33:36,660
It was full of large,
unfinished canvases.

409
00:33:36,660 --> 00:33:39,300
He must work so hard,
but what a mess!

410
00:33:40,500 --> 00:33:44,460
Dear God,
his paintings are astonishing.

411
00:33:44,460 --> 00:33:48,140
I find something morbid in them,
which is quite disturbing,

412
00:33:48,140 --> 00:33:50,820
but I also feel drawn to them.

413
00:33:51,980 --> 00:33:53,740
Fernande Olivier.

414
00:33:59,500 --> 00:34:05,780
Podia ser muy extrovertido,
muy divertido, muy amable,

415
00:34:05,780 --> 00:34:10,420
y en seguida cambiaba su caracter
y se volvia mas cerrado,

416
00:34:10,420 --> 00:34:12,220
mas introspectivo.

417
00:34:12,220 --> 00:34:16,180
Pero al mismo tiempo
tambien era muy profesional.

418
00:34:16,180 --> 00:34:19,500
Picasso le gustaba trabajar
por la tarde

419
00:34:19,500 --> 00:34:23,540
y por la noche hasta muy tarde,
dormir por la manana

420
00:34:23,540 --> 00:34:25,740
y continuar toda la tarde trabajando

421
00:34:25,740 --> 00:34:27,940
y toda la noche hasta
las cuatro o cinco de la manana

422
00:34:27,940 --> 00:34:30,820
en que tenia
la tranquilidad necesaria

423
00:34:30,820 --> 00:34:33,660
para crear
sin que nadie le molestase.

424
00:34:33,660 --> 00:34:38,700
Ese modus operandi lo mantendra
durante toda su vida.

425
00:34:49,380 --> 00:34:51,740
MAN: You already know
how lonely I am,

426
00:34:51,740 --> 00:34:54,180
always in the middle of a commotion

427
00:34:54,180 --> 00:34:58,140
and in the midst of a crowd,
which irritates me...

428
00:34:58,140 --> 00:35:01,620
but I'm forced to deal with them
because of interest and necessity.

429
00:35:01,620 --> 00:35:05,140
One has to eat...
but if it were only that!

430
00:35:05,140 --> 00:35:07,540
When you have to arrange things
with other people

431
00:35:07,540 --> 00:35:09,740
and when you want to do something,

432
00:35:09,740 --> 00:35:12,660
it's terrible to be obliged
to waste so much time,

433
00:35:12,660 --> 00:35:15,500
sometimes scrounging
for the last peseta

434
00:35:15,500 --> 00:35:17,700
to pay for
the studio or restaurant,

435
00:35:17,700 --> 00:35:21,940
and believe me, all those struggles
and all this trouble isn't worth it,

436
00:35:21,940 --> 00:35:24,260
it's wasted time.

437
00:35:24,260 --> 00:35:25,700
Pablo Picasso.

438
00:35:35,140 --> 00:35:37,900
On peut regarder, en effet,
le Nu Assis de 1905,

439
00:35:37,900 --> 00:35:40,820
qui est un portrait feminin, nu,
d'une femme assise,

440
00:35:40,820 --> 00:35:43,220
qui est vraiment a la jonction,
justement,

441
00:35:43,220 --> 00:35:45,420
entre cette periode bleue
et cette periode rose,

442
00:35:45,420 --> 00:35:47,620
et dans laquelle on voit tres bien
la transition

443
00:35:47,620 --> 00:35:53,020
et le processus creatif dans lequel
Picasso est implique cette annee-la.

444
00:35:54,460 --> 00:35:57,580
On est devant
un portrait tres melancolique.

445
00:35:57,580 --> 00:36:00,860
Dans l'elongation des membres
et dans le cote monochrome du fond,

446
00:36:00,860 --> 00:36:02,420
en tout cas la partie superieure,

447
00:36:02,420 --> 00:36:05,140
on est dans la periode bleue
completement.

448
00:36:06,540 --> 00:36:08,980
Et dans le travail des ocres,

449
00:36:08,980 --> 00:36:11,940
et puis dans cette reintroduction
de la couleur,

450
00:36:11,940 --> 00:36:13,940
on est deja vers la periode rose.

451
00:36:21,740 --> 00:36:26,580
Quand on parle de la periode "rose"
de maniere assez impropre,

452
00:36:26,580 --> 00:36:28,780
puisqu'en effet,
il y a tres peu de rose,

453
00:36:28,780 --> 00:36:31,220
et surtout pour designer
en realite un cycle

454
00:36:31,220 --> 00:36:35,460
qui est beaucoup plus large,
qui est le cycle des saltimbanques,

455
00:36:35,460 --> 00:36:39,860
qui commence a la fin 1904 et
qui deborde un petit peu sur 1906.

456
00:37:02,020 --> 00:37:03,900
The key painting of the Pink Period

457
00:37:03,900 --> 00:37:08,180
is Family of Saltimbanques
of 1905,

458
00:37:08,180 --> 00:37:12,380
that represents
Picasso's love for the circus,

459
00:37:12,380 --> 00:37:14,860
which he used to attend in Paris,

460
00:37:14,860 --> 00:37:18,740
as well as his intimate life
of that period,

461
00:37:18,740 --> 00:37:23,260
by incorporating references
to his lover, Fernande Olivier,

462
00:37:23,260 --> 00:37:28,460
as well as to his great friend,
the poet Guillaume Apollinaire.

463
00:37:28,460 --> 00:37:32,020
And finally, Family of
Saltimbanques is very important,

464
00:37:32,020 --> 00:37:35,860
because we see Picasso
portraying himself as Harlequin,

465
00:37:35,860 --> 00:37:38,380
an apt alter-ego for Picasso,

466
00:37:38,380 --> 00:37:41,820
because
he's a figure of transformation,

467
00:37:41,820 --> 00:37:43,900
and someone who, out of rags,

468
00:37:43,900 --> 00:37:47,500
managed to create
a beautiful costume for himself.

469
00:38:07,420 --> 00:38:12,540
A l'ete 1906, Picasso part
en Espagne voir sa famille,

470
00:38:12,540 --> 00:38:15,740
et ensuite il poursuit son voyage
avec Fernande Olivier,

471
00:38:15,740 --> 00:38:17,660
sa compagne de l'epoque, a Gosol.

472
00:38:19,180 --> 00:38:22,700
Gosol, c'est un tout petit village
des Pyrenees catalanes,

473
00:38:22,700 --> 00:38:26,020
qui est vraiment perdu
au milieu de nulle part.

474
00:38:26,020 --> 00:38:29,780
On est au milieu
de la nature splendide,

475
00:38:29,780 --> 00:38:31,540
mais en meme temps, tres isole.

476
00:38:40,420 --> 00:38:42,380
Et c'est aussi un paysage

477
00:38:42,380 --> 00:38:46,620
fait de couleurs tres ochres,
tres seches, tres arides,

478
00:38:46,620 --> 00:38:49,220
qui a ce cote un peu sauvage,
en fait.

479
00:38:51,420 --> 00:38:55,660
On est dans une dimension
d'un retour aux sources,

480
00:38:55,660 --> 00:38:58,340
qui va correspondre aussi a ce que
cherche Picasso a ce moment-la.

481
00:39:06,660 --> 00:39:11,260
Il a deja vu la retrospective
Ingres du Salon d'automne de 1905.

482
00:39:12,460 --> 00:39:17,860
Il retravaille sur ces themes de
la coiffure, du harem, classiques.

483
00:39:17,860 --> 00:39:21,900
Et on sent un Picasso en recherche
de rencontres effectives,

484
00:39:21,900 --> 00:39:26,060
de sujets et de lieux avec
ce qu'il cherche dans son travail.

485
00:39:32,860 --> 00:39:35,940
Et on va voir une vraie
simplification de son travail,

486
00:39:35,940 --> 00:39:39,820
une simplification des formes,
une geometrisation des formes.

487
00:39:41,020 --> 00:39:44,500
Et on va voir ses visages
peu a peu se rigidifier

488
00:39:44,500 --> 00:39:47,980
et se transformer en ovales,
en ovales pleins,

489
00:39:47,980 --> 00:39:51,260
on sent aussi cette influence
de la sculpture,

490
00:39:51,260 --> 00:39:56,540
qui vont, de fil en aiguille,
revolutionner son langage plastique.

491
00:40:02,300 --> 00:40:06,100
After ten weeks, he and Fernande
headed back to Paris.

492
00:40:06,100 --> 00:40:10,020
It's tempting to over-simplify the
development of an artist's career,

493
00:40:10,020 --> 00:40:13,900
but there's no doubt that
those ten weeks spent in Gosol

494
00:40:13,900 --> 00:40:15,780
had been transformative.

495
00:40:15,780 --> 00:40:18,060
For Picasso now began preparations

496
00:40:18,060 --> 00:40:21,140
for one of the most significant
works of his youth,

497
00:40:21,140 --> 00:40:24,380
indeed one of the most significant
works of his life,

498
00:40:24,380 --> 00:40:26,100
Les Demoiselles d'Avignon.

499
00:40:45,540 --> 00:40:50,660
Pablo visited the Museum of Mankind
at Trocadero in Paris.

500
00:40:50,660 --> 00:40:53,340
He was a bit lost in this museum.

501
00:40:53,340 --> 00:40:57,340
In the dusty rooms, where
there were thousands of objects

502
00:40:57,340 --> 00:41:00,660
from the colonies,
especially from Africa.

503
00:41:00,660 --> 00:41:03,060
It is how he discovered the masks.

504
00:41:05,900 --> 00:41:10,380
MAN: A smell of mould and neglect
caught me by the throat.

505
00:41:10,380 --> 00:41:14,740
But I forced myself to stay,
to examine these masks,

506
00:41:14,740 --> 00:41:17,660
all these objects
that people had created

507
00:41:17,660 --> 00:41:19,980
with a sacred, magical purpose,

508
00:41:19,980 --> 00:41:23,940
to serve as intermediaries
between them and the unknown.

509
00:41:25,820 --> 00:41:28,900
And then I understood
what painting really meant.

510
00:41:28,900 --> 00:41:33,140
It's not an aesthetic process,
it's a form of magic

511
00:41:33,140 --> 00:41:38,140
that interposes itself
between us and the hostile universe,

512
00:41:38,140 --> 00:41:42,740
a means of seizing power
by imposing a form on our terrors

513
00:41:42,740 --> 00:41:44,860
as well as on our desires.

514
00:41:45,940 --> 00:41:49,780
The day I understood that,
I had found my path.

515
00:41:52,140 --> 00:41:55,500
He was impressed, because
he was trying to understand

516
00:41:55,500 --> 00:41:58,660
what the process was,
because it was frightening.

517
00:41:58,660 --> 00:42:01,860
At the same time,
it was like a kind of protection.

518
00:42:01,860 --> 00:42:05,300
And from that moment,
he started to observe

519
00:42:05,300 --> 00:42:09,980
what was the simplified
representation of the humankind.

520
00:42:09,980 --> 00:42:13,340
So it was a kind of exploration,
in this period,

521
00:42:13,340 --> 00:42:15,380
that we call Primitivism.

522
00:42:15,380 --> 00:42:18,220
Primitivism is very much to do with

523
00:42:18,220 --> 00:42:22,660
the encounter with non-Western art.

524
00:42:22,660 --> 00:42:28,300
It includes pre-Classical sculpture,
as well as so-called "tribal" arts.

525
00:42:28,300 --> 00:42:30,380
And all of these examples
provided artists

526
00:42:30,380 --> 00:42:31,860
And all of these examples

527
00:42:31,860 --> 00:42:35,540
with a different approach
to representation

528
00:42:35,540 --> 00:42:40,140
from the one they had learned
through academic training.

529
00:43:06,980 --> 00:43:13,820
At this moment in Picasso's career,
he is really out to do nothing less

530
00:43:13,820 --> 00:43:18,220
than reinvent
the history of western painting

531
00:43:18,220 --> 00:43:22,260
in his own
aggressively confrontational,

532
00:43:22,260 --> 00:43:27,020
stylistically disjunctive,
provocative terms.

533
00:43:27,020 --> 00:43:29,380
We know he put a lot of time
into planning this work.

534
00:43:29,380 --> 00:43:34,820
We can just see from the size of it
that it is of tremendous ambition,

535
00:43:34,820 --> 00:43:39,540
and I think he was intent
on making people stand back and say:

536
00:43:39,540 --> 00:43:42,260
"I've never seen
a painting like this before."

537
00:43:43,420 --> 00:43:46,340
Les Demoiselles d'Avignon

538
00:43:46,340 --> 00:43:52,180
started as a narrative scene
set in a brothel, of two men,

539
00:43:52,180 --> 00:43:58,940
a sailor and a medical student,
surrounded by five prostitutes.

540
00:43:58,940 --> 00:44:02,660
And in time it became
a very iconic image

541
00:44:02,660 --> 00:44:04,780
of five female nudes.

542
00:44:07,340 --> 00:44:11,300
This is a picture
with a particular erotic charge

543
00:44:11,300 --> 00:44:16,180
that certainly has to do with
the putative brothel scenario.

544
00:44:17,300 --> 00:44:20,940
One of the things I always notice
when I look at this work

545
00:44:20,940 --> 00:44:25,100
is the way that each one of those
figures locks eyes with us.

546
00:44:26,220 --> 00:44:28,900
The title of this painting
is extremely confusing,

547
00:44:28,900 --> 00:44:32,140
because first,
we speak about demoiselles,

548
00:44:32,140 --> 00:44:34,020
when they are prostitutes,

549
00:44:34,020 --> 00:44:36,980
and we say Avignon, which is a
little town in the south of France.

550
00:44:36,980 --> 00:44:41,900
But you have to refer to
the Carrer d'Avinyo in Barcelona,

551
00:44:41,900 --> 00:44:45,420
which was the street
of the brothels and bars.

552
00:44:49,020 --> 00:44:52,060
En el origen mismo
del titulo de la obra

553
00:44:52,060 --> 00:44:54,340
y de cierta iconografia de la obra,

554
00:44:54,340 --> 00:44:59,740
esta en las visitas que Picasso hizo
a burdeles de Barcelona.

555
00:44:59,740 --> 00:45:04,260
En cierta manera es toda una
iconografia realizada en Francia

556
00:45:04,260 --> 00:45:07,180
pero que toma de referencia
momentos de su juventud

557
00:45:07,180 --> 00:45:10,780
relacionados con el momento
iniciatico de la entrada de un joven

558
00:45:10,780 --> 00:45:13,260
como Picasso en los burdeles.

559
00:45:15,620 --> 00:45:19,460
Ce que Picasso va reussir
a faire entre, on va dire,

560
00:45:19,460 --> 00:45:21,820
ces 14 ans et 1907,

561
00:45:21,820 --> 00:45:24,540
c'est en effet une revolution,

562
00:45:24,540 --> 00:45:27,820
un changement de point de vue
sur la representation.

563
00:45:27,820 --> 00:45:31,420
Les Demoiselles d'Avignon
sont a l'origine

564
00:45:31,420 --> 00:45:35,660
de ce qui va devenir le cubisme,
cette maniere de representer

565
00:45:35,660 --> 00:45:39,140
le monde de plusieurs points de vue,
un seul plan.

566
00:45:40,420 --> 00:45:45,100
Du cubisme puisqu'il est amene
a recomposer intellectuellement

567
00:45:45,100 --> 00:45:49,660
la complexite d'un objet
dont on sait bien qu'il ne peut pas,

568
00:45:49,660 --> 00:45:52,700
en tant que structure
tridimensionnelle,

569
00:45:52,700 --> 00:45:56,700
se retrouver de maniere exacte
sur une surface plane.

570
00:45:56,700 --> 00:45:59,100
Et ca, c'est une vraie revolution.

571
00:46:00,420 --> 00:46:04,860
It's very interesting
that in the space of ten years,

572
00:46:04,860 --> 00:46:09,100
attitudes to the whole issue
of Primitivism in art,

573
00:46:09,100 --> 00:46:12,700
and also to Les Demoiselles,
changed quite radically.

574
00:46:12,700 --> 00:46:17,940
When Picasso first showed
Les Demoiselles to his friends,

575
00:46:17,940 --> 00:46:21,580
they reacted
very strongly and very negatively,

576
00:46:21,580 --> 00:46:24,340
considering it a complete failure.

577
00:46:24,340 --> 00:46:26,260
Andre Derain even said

578
00:46:26,260 --> 00:46:31,380
that one day they will find
Picasso hanging behind the painting.

579
00:46:31,380 --> 00:46:35,780
The legend is that
everybody was shocked and appalled,

580
00:46:35,780 --> 00:46:38,380
but I think
when you really begin to look at

581
00:46:38,380 --> 00:46:42,820
the literature and the commentary,
that the responses were more mixed.

582
00:46:42,820 --> 00:46:45,980
I think what is, it seems to me,
very true,

583
00:46:45,980 --> 00:46:52,260
is that this was a picture that
surprised, and shocked, and upset.

584
00:46:52,260 --> 00:46:54,540
But that isn't necessarily
a pejorative thing,

585
00:46:54,540 --> 00:46:56,020
that's a great thing.

586
00:46:56,020 --> 00:47:00,420
It's a cause for argument,
and debate, and dissent.

587
00:47:00,420 --> 00:47:02,700
Then, in the '30s,
it comes to New York,

588
00:47:02,700 --> 00:47:05,660
and it is acquired
by the Museum of Modern Art,

589
00:47:05,660 --> 00:47:09,300
and it's included
in the first big exhibition

590
00:47:09,300 --> 00:47:12,140
MoMA did in 1939 of Picasso's work.

591
00:47:12,140 --> 00:47:15,740
And I imagine
it's been on our walls ever since.

592
00:47:18,620 --> 00:47:21,140
Picasso es un artista de referencia,

593
00:47:21,140 --> 00:47:25,380
aun hoy despues de tantos anos de su
muerte, sigue siendo una referencia,

594
00:47:25,380 --> 00:47:28,500
no solo para los estudiosos sino
tambien para los propios artistas.

595
00:47:30,580 --> 00:47:32,980
El gran artista famoso en su vida

596
00:47:32,980 --> 00:47:38,660
que es capaz de jugar con los medios
de comunicacion a su alcance...

597
00:47:38,660 --> 00:47:43,860
que es capaz de durante
todo su recorrido vital y artistico

598
00:47:43,860 --> 00:47:48,580
de estar siempre en
un nivel altisimo y de referencia.

599
00:47:51,540 --> 00:47:54,780
Desde luego hay una cosa
que es muy importante

600
00:47:54,780 --> 00:47:59,660
y es que Picasso no se canso nunca
de experimentar.

601
00:48:00,940 --> 00:48:04,580
Que era un hombre que estaba,
yo diria,

602
00:48:04,580 --> 00:48:07,580
un poco a disgusto con su obra,

603
00:48:07,580 --> 00:48:14,020
y que siempre intentaba
continuamente avanzar o especular

604
00:48:14,020 --> 00:48:16,020
sobre otros temas.

605
00:48:20,820 --> 00:48:25,820
Creo que vive de frustracion
que es lo que hacia Picasso,

606
00:48:25,820 --> 00:48:30,060
no estar nunca de acuerdo
consigo mismo.

607
00:48:30,060 --> 00:48:33,740
Por eso tenemos esa cantidad
tan grande,

608
00:48:33,740 --> 00:48:38,660
tan ingente de ceramicas, de
grabados, de dibujos, de oleos.

609
00:48:38,660 --> 00:48:41,620
Yo personalmente calculo
unos 50,000.

610
00:48:53,540 --> 00:48:57,340
Todo un mundo y todo un universo,

611
00:48:57,340 --> 00:49:00,660
que nos ha llegado para comprender
el siglo viente,

612
00:49:00,660 --> 00:49:02,140
que el siglo viente,

613
00:49:02,140 --> 00:49:07,020
al fin y al cabo, Picasso es el
resumen de todo ese siglo pasado.

614
00:49:13,260 --> 00:49:15,940
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