A minha paixão (quase assim poderia chamar-lhe) pela Dança e pelas Artes Plásticas levaram-me hoje a reunir aqui pequenos excertos (escritos por Laura Payne) sobre duas pinturas de Picasso, afastadas no temo de execução pelo genial pintor, tendo como tema a Dança. A primeira, intitulada The Three Dancers, data de 1925; a segunda, The Dance, data de 1956.
Sobre a primeira:
“ This radical work marks Picasso's entry into Surrealism and descent into his disturbing depictions of the female form. However, he was never fully signed up member of the Surrealism movement: his down-to-earth artistic response and individuality never truly submitted to the movement's Freudian concepts of supremacy of the subconscious state. Yet Surrealists emerging from the Dada Movement claimed Picasso as their own, with the reproduction of Les Demoiselles d'Avignon (1907) in their 1925 manifesto to endorse his influence on their work.
The Three Dancers is similar to Les Demoiselles d'Avignon in its revolutionary impact – yet it is not the elements of primitivism but the women's psychotic frenzy that is disturbing. The bodily distortions and maniacal grimaces, combined with the figures' pyramidal structure, surface again in the equally ferocious Crucifixion (1930) . The characters are life size, as this massive picture measures seven feet by five feet. (...)”
Sobre a segunda:
“The lyricism of this drawing recalls Picasso's main tribute to Matisse, Joie de Vivre (1946), which was executed at the end of the Second World War as a celebration of peace. Like the former work, the swirling lines are stretched and extended into a pliable form, though here, they are probably Picasso's final farewell to Matisse, who died in 1954. He was deeply touched by the loss of his old friend and rival, and increasingly felt isolated from the old guard as many of the contemporaries died.
Matisse himself completed a series of works entitled Dance during his career, a theme which he regularly developed in order to study colour techniques through accentuated contours. A massive Matisse mural (...) has a very similar animated figuration to this Picasso work. In it Matisse used cut-out shapes to study the movement of the dancing figures within the available space, similarly invoked by these Picasso figures. However, whereas Matisse incessantly studied mobility in colour, the cut-out figures shown here, are another example of Picasso's obsession with form. Their simple, flowing lines conjure up a beautiful, melodic rhythm of musical animation.”
(Extractos de: Laura Payne, The Essential Picasso , The Parragon Book, Bath, 2001)
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