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Portrait of Suzanne Bloch

Portrait of Susanna Bloch – painting by Spanish artist Pablo Picasso in Paris in 1904 by the end of his blue period. The subject, Suzanne Bloch, was a singer known for her interpretations of Wagner and the violinist’s sister, Henri Bloch.
Suzanne Bloch
Luminous in the Paris sets, frequented by Picasso in the early 20th century, Susanna Bloch was a Wagnerian singer and violinist sister Henri Bloch. She was introduced to the Spanish artist by the French poet Max Jacob, in 1904, and she sat for a portrait of Picasso in his studio in 13 ruts of Ravignan in Paris between the end of the spring and the early summer of that year. Continue reading →

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Pissing pug, Lucifer and other ambiguous sculptures that caused a lot of controversy

Any art form is controversial, and statues are no exception. Considering that they are made, as a rule, in honor of famous people, objects or events, all people simply cannot have the same attitude to sculptures. Therefore, it is not surprising that often ordinary statues are the cause of discord.
1. Lucifer from Liege
“Lucifer from Liege” – a statue in the Cathedral of St. Paul in the Belgian city of Liege. The official name of the statue is Le genie du mal (“The genius of evil). It was made in 1848 by sculptor Guillaume Gifs. But few people know that in fact the “Genius of Evil” was not the original statue of Lucifer, created for the church. Earlier, L’ange du mal (“Angel of Evil”), who was made by Guillaume’s brother, Joseph in 1842, was born. Continue reading →

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Avant-garde and socialist realism

Avant-gardism, developed in the literature by Vladimir Mayakovsky and Velimir Khlebnikov, since the 1910s has also spread powerfully in Russian painting. Back in the 1910s avant-gardism in Russia was fond of Kazimir Malevich (who created the style of suprematism), Vasily Kandinsky, Vladimir Tatlin. The heyday of the Russian avant-garde came in 1914–1922. What was the avant-garde? Combining abstractionism, constructivism, cubism, suprematism and some other postmodernist movements in painting, he abandoned realism, while retaining an emphasis on the form of objects as such. Thus, Malevich’s Suprematism appeared in the 1910s as a writing style in the form of combinations of multi-colored planes and the simplest geometric outlines. Continue reading →

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