Perspective: The exemplary modern artist died 50 years ago this month, and we’re still trying to clean up his mess, Sebastian Smee writes.
the fourth and final volume, spoke of Picasso’s “malignant narcissism,” adding that, despite his brilliance, “the emotional repertoire of the work, especially as he aged, is far narrower than often perceived.”, noted that “large stretches of this book read like a code-breaker’s manual” .
But then, it can also become incredibly tedious. Ten years before Spurling’s review, Gopnik, in a New Yorker essay prompted by the publication of the second volume of the Richardson biography, noted that the trouble with so many Picasso works “was less the misogyny of the subjects” — pervasive as that was — “than the banality of their articulation.”
One of Gopnik’s most contentious claims was that Picasso’s best work was confined to the “fifteen-year period centered on cubism, the First World War, and its immediate aftermath.” Surrounding this high period, he wrote, “was a vast sea of kitsch, an almost bottomless vulgarity of imagination, an ugliness that was not the honest Medusa’s-head ugliness of modernism but the glaring ugliness of falseness and sentimentality.
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