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For many, Pablo Picasso's paintings are associated exclusively with abstraction, but this is not so. The artist was able to work in different manners and techniques. It is enough to study from the paintings the theme of his relationship with Olga, to whom more than one work was devoted, and it becomes clear how Picasso was a diverse master.
This temperamental Spaniard with all his heart fell in love with a ballerina from the Diaghilev troupe and was forced to make her an offer, since he was warned about the special mentality of Russian girls that “they should be married.” Olga Khokhlova accepted him. Two creative natures were happy with each other, and this harmony was reflected in the paintings of the great master.
The portrait of Olga Picasso is not at all an abstract painting, but some schematism in it, nevertheless, can be traced. The hair and fur on the collar are poorly written out, shallow chiaroscuros, although they are, of course, present and create the mood, the blurry outlines of the bracelet on Olga’s hand - all this takes the viewer away from the details, leading him to the main - the general mood of the canvas. His idea is thoughtfulness.
Beautiful Olga is dreaming about something or trying to catch a thought. Just about she will sparkle in the mind of a young woman, and she will leave her chair, fluttering from him like a blue moth. You can see what chiseled hands she has, and now she has frozen like a magnificent antique marble statue.
Simplification of the image is still not a hindrance to the image seeming unusually lively. A moment of thoughtfulness, a look directed to nowhere is so inherent in a person of art, and Olga was such. A slight tilt of the head, but a surprisingly even back, position of the hands - all this gives the ballerina in the artist’s wife. There is also a meekness typical of a Russian woman of those years. Art, truly, has no boundaries.
Claude Monet Haystack In Giverny