Description of Pablo Picasso Artwork: The Death of Casagemas, 1901, 1932

Pablo Picasso was born in Spain in 1881, he was raised there before he spends most of his adulthood in France. He made more than 20,000 paintings during this time which includes, drawings, sculptures, ceramics and alternative things like costumes and theatre sets. He's universally famed collectively as the foremost influential and celebrated artists of the 20th century. 

Picasso arrived in Paris to witness the big Gogh exhibition mounted at the Galerie Bernheim-Jeune in the last two weeks of March 1901, however, he should have seen the paintings closely-held by Vollard, who had organized a pioneering retrospective in January 1897 and was a serious investor to the 1901 show. The keenness felt by the younger generation for the daring of Van Gogh's works was whetted by sympathetic interest within the drama of his life, that became higher famed once extracts from his diarist letters to his brother Theo began to look shortly once his death. Gogh was a lot of on the art world's collective mind at the flip of the century, and in reviewing Picasso's exhibition at Vollard's gallery Fagus enclosed his name within the list of recent artists on whom he felt the young European was too dependent. The crusted surfaces, intense prismatic colour, daring contours and lentiginous technique of a variety of this footage bear him out, however, the painting that manifests Picasso's esteem most honestly could be a little-consecrated panel painted once the Vollard show had closed. The Death of Casagemas, imitates Van Gogh's Self Portrait with gray lid and Van Gogh's Chair therefore closely that it's just about a pastiche, and during this case, the sculptor had a pressing non-public agenda. 

The Death of Casaqemas is one in every of many memorials sculptor dedicated to the young painter who had shot himself in Paris on seventeen Feb 1901.The immediate explanation for the suicide was Casagemas's unsuccessful romance with Germaine Gargallo, whom he had met on his initial visit to Paris in Oct 1900. She, it appears, was happily promiscuous whereas he was impotent. Pablo Picasso was in Spain at the time of the disaster and it had been solely once the pressure to supply for his exhibition had raised that he began to touch upon it in his work. 

By 1901 this notion of Gogh had become rooted and it should have appeared to sculptor that a nervy, violent, 'expressionist' vogue supported Van Gogh's was most acceptable for a memorial to a painter driven to desperation by his sufferings. at the same 

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