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. 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 THAT THOSE INTERESTED IN THE AUTHENTIC ART OF PABLO PICASSO SHOULD VISIT OR 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, OTHER BOOKS, ARTICLES AND MAGAZINES AND MATERIALS IN PUBLIC DOMAIN ABOUT PABLO PICASSO AND THAT REASONABLY INCLUDES ILLUSTRATIONS, IN THIS INSTANCE, OF PABLO PICASSO’S ARTISTIC CREATIONS. THE PABLO PICASSO FANZINE SINCE JUNE 1ST 2026. 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. THIS IMAGE TO THE LEFT IS OF PABLO PICASSO THE FAMOUS ARTIST AND RECEIPTS WILL SHOW THIS IMAGE WAS PURCHASED AT PUBLIC AUCTION.

THE PICASSO FANZINE NUMBER 5

BEFORE ME I HAVE THE BEAUTIFUL LITTLE SQUARE ART BOOK CALLED "PICASSO. THE TASTE OF OUR TIME." A COLLECTION PLANNED AND DIRECTED BY ALBERT SKIRA WITH THE BIOGRAPHICAL AND CRITICAL STUDIES BY THE KNOWLEDGABLE MAURICE RAYNAL, TRANSLATED BY JAMES EMMONS. IT IS A SKIRA PUBLICATION. COPYRIGHT 1953 BY EDITIONS D'ARTE ALBERT SKIRA, GENEVA (SWITZERLAND). LCCC:53-11066. DISTRIBUTED IN THE UNITED STATES BY THE WORLD PUBLISHING COMPANY. 2231 WEST 110TH STREET, CLEVELAND 2. OHIO. U.S.A. THIS IS A 6 INCHES BY 6 INCHES SQUARE BOOK WITH SUPERB PLATES OF PICASSO WITH COMMENTARIES. BACK PAGE STATES "THIS BOOK WAS PRODUCED AND FINISHED ON THE THIRTY-FIRST DAY OF OCTOBER NINTEEN HUNDRED AND FIFTY THREE." PRINTED IN SWITZERLAND PLATES ENGRAVED BY GUEZELLE ET RENUARD, PARIS. 136 PAGES. THE PICTURE WE ARE DISCUSSING APPEARS ON PAGE 33 OF THIS BOOK:"THE SEATED HARLEQUIN, 1905," PRIVATE COLLECTION, PARIS. NO IMAGE SIZES IS GIVEN. ["PIC 10"].

LET US FIRST QUOTE FROM THIS BEAUTIFUL BOOK. LET'S START THE QUOTE....

{PAGE 29} TOP PAGE TITLE:THE ROSE PERIOD.

IN THE YEARS FROM 1904 TO 1906 PICASSO MOVED ON FROM HIS BLUE TO HIS ROSE PERIOD. SETTLING FOR GOOD IN PARIS IN THE SPRING OF 1904, HE MADE HIS STUDIO IN A TENEMENT BUILDING IN MONTMATRE WHICH MAX JACOB HAD CHRISTENED THE 'BATEAU LAVOIR" - THE BOAT WASH HOUSE. HE FELL IN ALMOST AT ONCE WITH A MERRY CROWD OF ARTISTS, POETS AND WRITERS...{TURNING THE PAGE, 30}... PICASSO'S ROSE PERIOD PROVIDES AN INTERESTING PREVIEW OF WHAT WAS TO COME, AS WE SEE HIM, FIRST OF ALL BREAKING ABRUPTLY WITH THE BLUE MELANCHOLY OF THE PAST FEW YEARS. ONE COLOR DOING DUTY AS WELL AS ANOTHER, HE SWITCHED NOW OVER TO ROSE, A DEEP-VEINED, FULL-BLOWN PINK. HE TURNED TO FRESHLY CONCIEVED FIGURES, DELIVERED FROM THE TACITURN INTROSPECTION OF THE OLD ONES. THEY SEEM TO SAY YES TO LIFE, AND WORE, IF NOT HAPPY SMILES, AT LEAST A SERENE DEMEANOR. OUSTING THE TALL, STOOPING FIGURES OF THE BLUE PERIOD CAME GOOD-LOOKING, WELL-FED MEN AND WOMEN. DRAFTSMANSHIP GAVE WAY TO FORM...FREE OF THE DISTRESS AND MISGIVINGS THAT LAY BEHIND THE BLUE PERIOD, HE GAVE HIMSELF UP TO SUBTLE PLAYS OF COLORED FORMS, NOT MOTIVATED NOW BY HUMAN BUT PLASTIC CONSIDERATIONS...

........./// END OF QUOTATION.

WHAT FOLLOWS NEXT ARE ORIGINAL CONTRIBUTED REMARKS CONCERNING THIS INTERESTING PICTURE....

LET ME SAY THIS: WHEN WE LOOK AT THIS "RED HARLEQUIN" PAINTING {OR THE "RED COURT JESTER"}, WE CAN'T REALLY SAY THAT MUCH ABOUT IT. AFTER ALL, ALL WE SEE IS A HUGE BLOOD RED CANVAS WITH A KIND OF A THIN A-SEXUAL UNINTERESTED JESTER IN THE MIDDLE OF IT WEARING A HAT. FAIR ENOUGH, DON'T YOU THINK? BUT CAN WE SAY ANYTHING ELSE ABOUT IT? NOT MUCH. BUT WE CAN SAY THIS: WHY DO WE INDEED HAVE TO SQUINT UP OUR EYES TO SEE THE TINY SMALL SHABBY PORTRAIT OF THE HARLEQUIN? IN FACT, LET US ASK ANOTHER QUESTION: PRECISELY HOW CLOSE TO THE CANVAS DO WE HAVE TO GET TO SEE WHAT THE HARLEQUIN ACTUALLY LOOKS LIKE? WHAT IS GOING ON? WE LOOK AROUND IN OUR ARTISTS TOOLBOX AND IT DOESN'T HELP US MUCH. BUT WHAT HELPS US IS OUR HONESTY: LET US BE HONEST, MEANING, THE VERY GENERAL IDEA OF THE PAINTING IS THAT IT LOOKS LIKE A PERSON CALMLY ROASTING IN HELL, DOES IT NOT? WELL IT DOES TO ME; A RED HERRING? LOOKS LIKE IT. BUT WE FORGET JUST HOW CLEVER PICASSO WAS, AND AFTER SOME RESEARCH MY OWN INNER HUNCH PAID OFF. I FOUND A TEXT THAT PERFECTLY JUSTIFIED MY GENERAL IDEAS OF WHAT I THOUGHT THE PAINTING WAS ABOUT, FOLLOW ALONG:

BEFORE ME I HAVE THE BEAUTIFUL BOOK CALLED "THE LAROUSSE {BOOK OF} WORLD MYTHOLOGY"; GENERAL EDITOR, PIERRE GRIMAL, THE PROFESSOR AT THE SORBONNE {UNIVERSITY IN PARIS, FRANCE}. IT IS PRINTED BY G. P. PUTNAM'S SONS, NEW YORK. THIS BOOK IS VERY LARGE AND IS IN SUPERB FULL-COLOR PRINT AND HAS 560 BEAUTIFUL PAGES. THESE ARE THE FULL PUBLICATION DETAILS... [ "LAROUSSE WORLD MYTHOLOGY" TRANSLATED BY PATRICIA BEARDSWORTH FROM 'MYTHOLOGIES DE LA MEDITERRANEE AU GANGE' AND 'MYTHOLOGIES DE STEPPES, DES LIES ET DES FORTES'. COPYRIGHT 1963. AUGE, GILLON, HOLLIER-LAROUSSE, MOREAU, ET CI. (LIBRARI LAROUSSE, PARIS). THIS EDITION COPYRIGHT 1965. PAUL HAMLYN LIMITED. LIBRARY OF CONGRESS CATALOGUE CARD NUMBER 65-19763. P RINTED IN ITALY BY O.G.A.M. VERONA FOR PAUL HAMLYN LIMITED, DRURY HOUSE, RUSSELL STREET, LONDON. W.C.2. FILMSET BY GRAPHIC FILM LIMITED, DUBLIN IRELAND. CONTACT G. P. PUTNAM'S SONS PUBLISHERS. 200 MADISON AVENUE, NEW YORK. 10016. THE UNITED STATES OF AMERICA. THE BOOK IS PRINTED IN ITALY.

NOW READ ALONG: CHAPTER TITLE: 'GREECE, MYTH AND LOGIC.' (SEE SUBHEADING: "BIRTH OF THE OLYMPIANS" ON PAGE, 105.) THIS CHAPTER WAS WRITTEN BY P. GRIMAL: "DURING THE STRUGGLE AGAINST CHRONUS AND THE TITANS THE MONSTERS HAD GIVEN THE YOUNG GODS POWERFUL WEAPONS, WHICH WERE TO FIGURE IN FUTURE AMONG THEIR EMBLEMS. [SIC] THUS THE CYCLOPS FORGED THE THUNDERBOLT AND LIGHTENING AND IT WAS GIVEN TO ZEUS - AND EVER AFTER THAT ZEUS WAS REGARDED AS THE GOD OF THE STORMY SKY. AGAIN IT WAS THE CYCLOPS WHO GAVE HADES A MAGIC HELMET, WHICH MADE THE WEARER INVISIBLE. POSEIDON FOR HIS PART RECEIVED A MAGIC TRIDENT, WHICH COULD MAKE THE EARTH AND SEA SHAKE. AND WHEREAS HADES BECAME THE GOD OF THE INVISIBLE WORLD AND REIGNED OVER THE SOULS OF THE DEAD, POSEIDON ACQUIRED THE POWER OF TROUBLING THE WAVES AND PROVOKING EARTHQUAKES AND TEMPESTS, WHICH WERE FREQUENTLY EXPERIENCED IN THE BASIN OF THE AGEAN SEA." (SEE PAGE, 108). I THINK PERHAPS THIS RESEARCH IS HELPFUL TO US, AND I THINK IT ILLUSTRATES THE CLEVER MULTI-DIMENSIONAL ASPECT OF PABLO PICASSO'S ARTISTIC POINT OF VIEW.

...///...THIS IS THE END OF THE ORIGINAL CONTRIBUTED REMARKS AND INSIGHTS.


PICASSO FANZINE.

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