Antibes

The ancient shores of the French Riviera have always held great attraction for Picasso. After his first visit to Juan-les-Pins in 1920, he often returned there to spend the season, combining recreation with work. The summer before the outbreak of World War II he stayed at Antibes, where in August he painted a remarkable visionary life-size canvas, Night Fishing at Antibes (page 263). Sabartés, who was with him in those anxious days, has described the unusual method Picasso adopted for this painting. He began by covering three walls of his studio with canvas, and trimmed it down to size only after he had painted it.

The monumental composition shows two girls standing on a stone jetty at the right; one of them is holding a bicycle and eating an ice cream cone. To the left of these girls, who are painted in somewhat smaller scale, two fishermen in a boat are spearing fish by the light of a lantern. The fantastic charm of this nocturne is based on the felicitous combination of the effects of light with nocturnal colors, ranging from black, through blue, various ghostly greens, and a murky brown, to a dark violet. This violet, which is used for the view of the town and Castle of Antibes in the upper left-hand corner of the picture, here strikes for the first time, on the eve of the war, a coloristic note that will recur many times in the oppressive years to come. The pale flesh color of the human figures glows between the warm radiance of the lamps and the cool brightness of the fish. The coloring clearly reveals the Spaniard; the magic light suggests the inspiration of El Greco; the singleness of mood is compelling; figures and landscape are in perfect harmony. Among Picasso's few nocturnes one, dating from 1951, represents his garden at Vallauris; it too combines artifical illumination and starlight.

In the summer of 1946, Picasso went from Ménerbes to La Garoupe, where he stayed at a friend's villa. On September 8, during one of his visits to the bcach of Golfe Juan, he met Dor de la Souchére, director of the museum of Antibes. This proved to be a historic meeting. De la Souchére expressed a desire to have something of Picasso's in his museum, and the artist, in a pleasant mood, immediately agreed. The result was' one of the happiest, most productive, and ingratiating

(p. 263) Night Fishing at Antibes 1939

-262-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Picasso
Table of contents

Table of contents

  • Title Page 2
  • Contents 5
  • Preface 7
  • Thoughts About Picasso 9
  • Introduction I: Nature and Abstraction 71
  • Introduction Ii: Range of Styles 95
  • Early Years in Barcelona and Paris 109
  • The Blue Period 120
  • The Rose Period 131
  • Origins of Cubism 141
  • Evolution of Cubism 165
  • Classical Interlude 175
  • Picasso and Surrealism 193
  • Symbolic Themes 206
  • Guernica 225
  • Portraits and Landscapes 240
  • Antibes 262
  • Vallauris: Ceramics 278
  • Sculpture 285
  • Ornament and Image. War and Peace 295
  • Notes and References 350
  • Classified Catalogue 453
  • Bibliograpby 516
  • Index of Names 523
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 524

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.