THE PABLO PICASSO (b.1881 – d.1973) FANZINE. WIKIPEDIA KEYWORD SEARCH: "fanzine": Definition of Fanzine: A fanzine (a blend of the word "fan" and "magazine" or "zine") is a non-professional and non-official publication produced by enthusiasts or "fans" of a particular cultural phenomenon (such as a literary {or artistic} or musical genre) for the pleasure of others who share the same interest. LEGAL: THIS IS THE PICASSO FANZINE'S GOOD FAITH EFFORT IN STATING TO THE PUBLIC THAT THE PICASSO FANZINE IS NOT FORMALLY RELATED IN ANY WAY TO THE HELD-ESTATES OF THE WORLD-FAMOUS ARTIST PABLO PICASSO AND THOSE INTERESTED IN THE AUTHENTIC ART OF PABLO PICASSO ARE DIRECTED TO VISIT THE OFFICIAL MUSEUM OF PICASSO, PARIS, FRANCE OR THE OFFICIAL MUSEUM OF PICASSO, BARCELONA, SPAIN. THE PICASSO FANZINE IS ALLOWED TO PRESENT CONSTRUCTIVE, EDUCATIONAL, FAIR-USE, ORIGINAL AND INSIGHTFUL ACADEMIC QUOTATIONS FROM RECYCLED BOOKS, PRIVATE-PERMSISSIONED LIMITED EDITION COLLECTORS ART, GENERAL ARTICLES AND MAGAZINES AND OTHER MATERIALS IN PUBLIC DOMAIN ABOUT THE WORLD FAMOUS PAINTER PABLO PICASSO AND THAT REASONABLY INCLUDES ILLUSTRATIONS, IN THIS INSTANCE, OF PABLO PICASSO’S ARTISTIC CREATIONS. THE PABLO PICASSO FANZINE, SINCE JUNE. 1ST 2026. PLEASE CONTACT: Mr. R. W. ABBOTTS, THE EDITOR OF THE PICASSO FANZINE. 77. SOUTH WASHINGTON STREET. SEATTLE CITY. WASHINGTON STATE. U.S.A., 98104. SEND COMMENTS, ESSAYS, PARAPHERNALIA, UNWANTED BOOKS AND PICTURES AND OTHER RELEVANT ITEMS, INCLUDING MONEY IF YOU WANT. YOUR ARTICLES AND ESSAYS, ONLY IF THEY ARE MARKED AS "PUBLIC DOMAIN" WILL BE APPENDED TO THE APPROPRIATE PAGE. THIS PHOTOGRAPH IMAGE TO THE LEFT IS OF PABLO PICASSO THE WORLD FAMOUS ARTIST AND RECEIPTS WILL SHOW THIS IMAGE WAS PURCHASED AT PUBLIC AUCTION.

    THE PICASSO FANZINE NUMBER 3

THE PICTURE OIL-PAINTING ON THIS PAGE IS BY THE WORLD FAMOUS PAINTER PABLO PICASSO AND IT IS CALLED: "PORTRAIT OF GERTRUDE STEIN." 1906. OIL ON CANVAS. 100CM X 81.3CM. LOCATED AT THE METROPOLITAN MUSEUM OF MODERN ART, NEW YORK, U.S.A. BEQUEST OF GERTRUDE STEIN, 1946. SIZE: 39 AND A QUARTER INCHES HIGH BY 32 INCHES WIDE. GENERAL DESCRIPTION A PORTRAIT OF A WOMAN PAINTED IN BROWN TONES SITTING AND LEANING IN A CHAIR.

IN FRONT OF ME I HAVE A PERFECT AND BEAUTIFUL FULL-COLOR PICTURE-PLATE OF PABLO PICASSO'S 'PORTRAIT OF GERTRUDE STEIN.' [PLATE SIXTEEN] SIZE: 39 AND A QUARTER INCHES HIGH BY 32 INCHES WIDE, AND IT IS A PORTRAIT OF A WOMAN SITTING IN A CHAIR. IT IS FOUND IN THE LARGE FOLIO-BOOKLET CALLED "PICASSO," A SPECIAL OVERSIZED PUBLICATION OF 16 LARGE BEAUTIFUL FOLIO-SIZED FULL COLOR PABLO PICASSO PRINTS. IT IS AN ABRAMS ART FOLIO BOOKLET: "ART TREASURES OF THE WORLD." THIS IS THE PUBLISHERS ADDRESS, 100 SIXTH AVENUE, NEW YORK 13. N.Y. U.S.A. AND THIS IS THE BRIEF COMMENTARY PROVIDED (SEE PAGE 6 OF THIS SPECIAL PABLO PICASSO FOLIO):

START THE QUOTATION: "PLATE SIXTEEN. GERTRUDE STEIN. PAINTED 1906. OIL. 39 AND A QUARTER INCHES TALL BY 32 INCHES WIDE. THE METROPOLITAN MUSEUM OF ART, NEW YORK. IN HER 'AUTOBIOGRAPHY OF ALICE. B. TOKLAS,' GERTUDE STEIN DESCRIBES HOW PICASSO PAINTED HER PORTRAIT.... "PICASSO SAT VERY TIGHT ON HIS CHAIR AND VERY CLOSE TO HIS CANVAS AND ON A VERY SMALL PALETTE WHICH WAS OF A UNIFORM BROWN GREY COLOUR, MIXED SOME MORE BROWN GREY AND THE PAINTING BEGAN. THIS WAS THE FIRST OF SOME EIGHTY OR NINETY SITTINGS...ALL OF A SUDDEN ONE DAY PICASSO PAINTED OUT THE WHOLE HEAD. "I CAN'T SEE ANY LONGER WHEN I LOOK," HE SAID IRRITABLY. AND SO THE PICTURE WAS LEFT LIKE THAT...THE DAY HE RETURNED FROM SPAIN PICASSO SET DOWN AND OUT OF HIS {OWN} HEAD PAINTED THE HEAD WITHOUT HAVING SEEN GERTRUDE STEIN AGAIN...'YES,' HE SAID, 'EVERYBODY SAYS SHE DOES NOT LOOK LIKE IT BUT THAT DOES NOT MAKE ANY DIFFERENCE, SHE WILL,' HE SAID." END OF QUOTATION.

VERY WELL, BUT WE STILL MAY ASK WHAT MAKES THIS PORTRAIT SO VERY IMPORTANT TO MODERN ART? THIS IS NOW THE BEGINING OF SOME ORIGINAL CONTRIBUTED REMARKS AND INSIGHTS.

WE OURSELVES CAN ADD THIS:WHEN WE LOOK AT THIS PORTRAIT WE CLEARLY SEE A 'SINGLE PORTRAIT' FULL-CANVAS OF A WOMAN IN A 'LEANING-TOWARDS' POSE SITTING HEAVILY IN A CHAIR, AND ALL COLORED WITH HEAVY AFRICAN-BROWN HUES. THIS IS THE IMMEDIATE IDENTIFIABLE DESCRIPTION. BUT WE NOW MAY ADD SEVERAL THINGS OF IMPORTANCE. LET ME SAY THIS:THE PAINTING IS OF GERTRUDE STEIN, A VERY WEALTHY AND VERY INFLUENTIAL AND VERY-WELL-KNOWN PATRON OF THE ARTS AND ARTISTS, ESPECIALLY IN PARIS IN THE EARLY 1900'S. BUT NOW THINK ABOUT WHAT I HAVE JUST SAID, MEANING, IT MAKES SENSE THEN, THAT IF YOU WERE ASKED TO PAINT GERTRUDE'S PORTRAIT FOR MONEY YOU WOULD PROBABLY PAINT IT IN A VERY CAREFUL AND CONVENTIONAL WAY, LIKE REMBRANDT, OTHERWISE YOU WOULD MESS-UP THE ENTIRE FINANCIAL GRAVY TRAIN AND RUIN YOUR REPUTATION. REMEMBER THIS CLEARLY AND THINK OF WHAT I HAVE JUST SAID ABOUT FINANCIAL RISK AND CONVENTIONAL PORTRAITS. THIS IS A RATHER CLUTTERED COMMENT, BUT NEVERTHELESS IT IS HEAVILY GROUNDED IN THE REALITY OF EVERY-DAY FINANCE, ESPECIALLY FOR PICASSO WHO WAS VERY POOR.

WE CAN SAY THIS: PABLO PICASSO DECIDED TO PAINT GERTRUDES PORTRAIT USING WHAT WE NOW CALL "MODERN-PRIMITIVE-ART INFLUENCES" AND HE DID SO IN SUCH A CAREFUL WAY THAT THE PORTRAIT REMAINS VERY RELEVENT TO THE NATURE OF THE PERSON HE WAS PAINTING. CLEARLY THIS IS DIFFICULT TO DO FOR ANY ARTIST, AND FOR ITS TIME SUCH A WAY OF PAINTING WAS ABSOLUTELY REVOLUTIONARY, AND CLEARLY IT WAS THE FIRST-TIME EVER IT HAD BEEN DONE FOR A WELL-KNOWN AND WEALTHY PATRON. BUT IN THE BACKGROUND, WE MUST UNDERSTAND THAT PICASSO HAD TO ALSO AVOID BEING THE LAUGHING-STOCK OF THE PARIS ART WORLD. REMEMBER THIS. PICASSO TOOK A HUGE FINANCIAL AND PROFESSIONAL ARTISTIC RISK THAT IS RARELY MENTIONED IN ART WORLD. YOU MAY SAY THIS BETTER USING YOUR OWN WORDS, BUT THIS IS AN IMPORTANT POINT TO GET ACROSS. THERE IS NOTHING AT ALL HO-HUM ABOUT THIS, AND IT OPENED UP FANTASTIC INSIGHTS INTO THE NATURE OF PORTRAITURE FOR EVERYONE ELSE. PICASSO BROKE ALL THE PATRON PORTRAIT PORTRAIT CONVENTIONS WHEN HE PAINTED THIS PICTURE.

THE PICASSO 'MODERN-PRIMITIVE' AND
'PRIMITIVISM' CONTROVERSY.

AFTER READING ABOUT THIS PORTRAIT I HAVE COME TO THE FOLLOWING CONCLUSION. PABLO PICASSO UNFORTUNATELY GOT HIMSELF INVOLVED IN THE "PROFESSOR WILLIAM QUINE ONTOLOGY TWO WORLD'S ARGUMENT." LET ME EXPLAIN, AND VERY QUICKLY. IN PHILOSOPHICAL CIRCLES IT IS POINTED OUT THAT TWO THINGS MAY LOOK IDENTICAL BUT MAY BE MADE BY VERY DIFFERENT METHODS. FOR EXAMPLE A CAKE CAN BE MADE BY A ROBOT AND BY A HUMAN, BUT THE CAKE ITSELF WILL END UP LOOKING EXACTLY THE SAME AND TASTING THE SAME. BUT AS LOGICIAN PROFESSOR QUINE WOULD SAY, THERE NEVERTHELESS IS A VERY IMPORTANT ONTOLOGICAL DIFFERENCE THAT SOMETIMES WE CANNOT POSSIBLY DETECT. MEANING THIS: MANY ART CRITICS HAVE STUDIED THE GERTRUDE STEIN PAINTING AND CANNOT DECIDE WHETHER PICASSO SIMPLY PAINTED HER PORTRAIT DIRECTLY USING AVAILABLE PRIMITIVE ART INFLUENCES, OR WHETHER THROUGH HARD INDEPENDENT AND LABOURED RESEARCH CAME TO A STYLE OF PAINTING THAT MIRRORED PRIMITIVE ART. MY UNDERSTANDING OF THE MATTER IS THAT QUINE'S ONTOLOGICAL ARGUMENT MUST BE MENTIONED, AND MAY SWAY THE ARGUMENT THAT "MODERN-PRIMITIVISM" AND NOT "PRIMITIVISM," FOR THE FIRST-TIME EVER, WAS FIRST IDENTIFIED, DEVELOPED AND INTRODUCED INTO THE ART WORLD BY PABLO PICASSO. THERE IS MUCH EVIDENCE TO DEFEND THIS REMARK.

BEFORE ME I HAVE A BOOK CALLED "A FINE DISREGARD" A RECOMMENDED BOOK WRITTEN BY KIRK VARNEDOE, AN IMPORTANT ART AUTHORITY [ IT IS A HARRY N. ABRAMS INC, BOOK, PUBLISHED IN 1990 ]; AND CHAPTER 4 OF THIS BOOK CALLED "PRIMITIVISM" DEALS PRECISELY WITH THIS CONTROVERSY. THE FLIPPANT REMARK THAT PICASSO STOLE OR UTILIZED PRIMITIVE ART IS NOT THE ENTIRE STORY, BUT RATHER, WE ARE TO SAY THAT DURING PICASSO'S GENUINE ATTEMPT AT RE-CREATING AND RE-ORGANIZING THE STANDARDS OF WESTERN-PORTRAITURE-BEAUTY HE CREATED FOR HIMSELF A VERY DARING AND NEW WAY OF PAINTING THAT VERY MUCH RESONANTED WITH PRIMITIVE ARTIFACTS.

THIS SAID WE CAN NOW SEE WHY PICASSO WAS SO VERY REVOLUTIONARY IN HIS DAY. LET US LOOK AT THE GERTRUDE STEIN PORTRAIT AGAIN AND SAY THIS: PICASSO WAS SHARP AND CLEVER BECAUSE HE USED ORIGINAL AND INSIGHTFUL PRIMITIVE NOTIONS, SUCH AS BRUTALITY, SIMPLICITY AND UNSOPHISTICATION TO PAINT A MODERN PORTRAIT, A UNIQUE AND VERY, VERY RISKY WAY OF PAINTING PORTRAITS. IN SHORT, THE PORTRAIT OF GERTUDE STEIN IS CERTAINLY A 'FIRST OF ITS KIND' MASTERPIECE IN "MODERN-PRIMITIVISM." BUT IT IS ALWAYS TO BE REMEMBERED AND NEVER FORGOTTEN THAT FOR ITS TIME THE GENUINE RISK OF ECONOMIC FAILURE AND THE DESTRUCTION OF ARTISTIC REPUTATION, AT THE TIME OF HIS PAINTING IT, WAS EXTREMELY HIGH. IT WAS A SINK OR SWIM MOMENT IN MODERN ART HISTORY.

NOTES: (1) THE INTERESTED READER MAY TURN TO PAGE 428 OF SIR RICHARDSON'S VOLUME 1 OF PICASSO'S LIFE, AND TURN TO THE CHAPTER CALLED "PLUNDERING THE PAST" WHEREBY THE RELATIONSHIP {OR COLLISION} OF 'PRIMITIVISM' WITH MODERN ART IS EXPLAINED. (2) HERE IS A USEFUL AND PRECISE DEFINTION OF MODERN PRIMITIVISM:"IN MODERN ART. THE DELIBERATE EJECTION OF WESTERN TECHNIQUES AND SKILLS IN THE PURSUIT OF 'STONGER' EFFECTS FOUND IN SUCH DOMAINS AS AFRICAN TRIBAL OR OCEANIC ART. THE WORD MAY THEREFORE BE APPLIED TO GAUGUINE, AND TO PICASSO'S WORK FROM AROUND 1906. IT IS SOMETIMES CALLED 'NAIVE ART'." [THIS DEFINTION COMES FROM PAGE 865 OF THE BOOK CALLED:THE CAMBRIDGE ENCYCLOPAEDIA, EDITED BY DAVID CRYSTAL. THIRD EDITION. CAMBRIDGE UNIVERSITY PRESS. THIRD EDITION 1997. ISBN:0-521-58459-0-HC. A SINGLE OVERSIZED FOLIO-SIZED BOOK.]

THIS IS THE END OF ORIGINAL CONTRIBUTED REMARKS AND INSIGHTS.

PICASSO FANZINE.