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Research Notes - Lieberman William S Pablo Picasso blue and...

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Lieberman, William S. Pablo Picasso: blue and rose periods. New York: H. N. Abrams, 1971. Print. “La Vie” is the most ambitious painting of Picasso’s blue period. Some sort of allegory is intended, but, as so often with Picasso, the symbolism remains highly personal and eludes exact interpretation. The couple at the left recalls earlier studies of a man and woman locked in an embrace. Here, however, their union seems protective rather than sensual...The heavily draped figure of the mother renders even more startling the nakedness of the man and woman. She cradles a sleeping baby in her arm, and her pose seems statuesque in contrast to the awkward posture of the couple. (Lieberman 8) In the latter half of 1905 Picasso abandoned his sensitive and often introspective characterizations. He was briefly interested in sculpture and, after a short trip to Holland during the summer, his painting became more objective. Even in the “Boy with a Pipe”, so closely related to the pictures of circus performers; Picasso’s attitude seems more detached. The face is that of the taller boy in “Two Saltimbanques with a Dog”, but Picasso’s interest is formal rather than narrative, and the backdrop of painted flowers throws the figure into bold relief. (Lieberman 24) Palau i Fabre, Josep. Picasso . New York: Rizzoli, 1985. Print.
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