1905, Pablo Picasso, The Actor -- Metropolitan Museum of Art (New York)
From the museum label: Picasso knew and admired El Greco's figures, as seen here in the angular, attenuated limbs and expressive hands of a costumed actor on a stage. This painting's imposing size marks a self-conscious change in Picasso's art toward the so-called Rose Period (roughly 1904-6), characterized by his use of a warmer, dusty pink and his departure from disenfranchised subjects such as that in the nearby Blind Man's Meal. Ever attuned to a wide range of art historical sources, Picasso also indicated his burgeoning interest in the paintings of Jean Auguste Dominique Ingres, the main proponent of neoclassicism in nineteenth-century France, whose mysterious Oedipus and the Sphinx (1808-27) he would have known from the Louvre.
1905, Pablo Picasso, The Actor -- Metropolitan Museum of Art (New York)
From the museum label: Picasso knew and admired El Greco's figures, as seen here in the angular, attenuated limbs and expressive hands of a costumed actor on a stage. This painting's imposing size marks a self-conscious change in Picasso's art toward the so-called Rose Period (roughly 1904-6), characterized by his use of a warmer, dusty pink and his departure from disenfranchised subjects such as that in the nearby Blind Man's Meal. Ever attuned to a wide range of art historical sources, Picasso also indicated his burgeoning interest in the paintings of Jean Auguste Dominique Ingres, the main proponent of neoclassicism in nineteenth-century France, whose mysterious Oedipus and the Sphinx (1808-27) he would have known from the Louvre.