Watch Picasso Create Entire Paintings in Magnificent Time-Lapse Film (1956)

Como faço para achar o link com esse filme com­ple­to? Alguém pode­ria me infor­mar?
Bei­jos

you’re right Jim C- so why does­n’t he? And where are your 7 year old’s mas­ter­piece real­is­tic paint­ings that he got bored of before he moved to abstrac­tion?

So Jim C. Can your 7 year old do this too:
https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcT6Du4QBjYMrK0R8C0btmrHjIxczqbW7WO_iH4xJxAOI8zsUJsm
I do not intend for this to be mean spir­it­ed, and per­haps you’re being iron­ic any­way, but with a lit­tle under­stand­ing of the his­to­ry of art you would real­ize how sil­ly your com­ment is.

“When I was young, like all the young, art, great art, was my reli­gion; but with the years, I came to see that art, as it was under­stood until 1800; was hence­forth fin­ished, on its last legs, doomed, and that so-called artis­tic activ­i­ty with all its abun­dance is only the many­formed man­i­fes­ta­tion of its agony. Men are detached from and more and more dis­in­ter­est­ed in paint­ing, sculp­ture and poet­ry; appear­ances to the con­trary, men today have put their hearts into every­thing else; the machine, sci­en­tif­ic dis­cov­er­ies, wealth, the dom­i­na­tion of nat­ur­al forces and immense ter­ri­to­ries. We no longer feel art as a vital need, as a spir­i­tu­al neces­si­ty, as was the case in cen­turies past. / Many of us con­tin­ue to be artists and to be occu­pied with art for rea­sons which have lit­tle in com­mon with true art, but rather through a spir­it of imi­ta­tion, through nos­tal­gia for tra­di­tion, through mere iner­tia, through love of osten­ta­tion, of prodi­gal­i­ty, of intel­lec­tu­al curios­i­ty, through fash­ion or through cal­cu­la­tion. They live still through force of habit and snob­bery in a recent past, but the great major­i­ty in all places no longer have any sin­cere pas­sion for art, which they con­sid­er at most as a diver­sion, a hob­by and a dec­o­ra­tion. Lit­tle by lit­tle, new gen­er­a­tions with a predilec­tion for mechan­ics and sports, more sin­cere, more cyn­i­cal and bru­tal, will leave art to the muse­ums and libraries as an incom­pre­hen­si­ble and use­less rel­ic of the past. / From the moment that art is no longer the sus­te­nance that nour­ish­es the best, the artist may exte­ri­or­ize his tal­ent in all sorts of exper­i­ments with new for­mu­las, in end­less caprices and fan­cy, in all the expe­di­ents of intel­lec­tu­al char­la­tanism. In the arts, peo­ple no longer seek con­so­la­tion, nor exal­ta­tion. But the refined, the rich, the indo­lent, dis­tillers of quin­tes­sence seek the new, the unusu­al, the orig­i­nal, the extrav­a­gant, the shock­ing. And I, since cubism and beyond, I have sat­is­fied these gen­tle­men and these crit­ics with all the var­i­ous whims which have entered my head, and the less they under­stood them, the more they admired. By amus­ing myself at these games, at all these tom­fool­ery’s, at all these brain-busters, rid­dles and arabesques, I became famous quite rapid­ly. And celebri­ty means for a painter: sales incre­ment, mon­ey, wealth. / Today, as you know, I am famous and very rich. But when com­plete­ly alone with myself, I haven’t the nerve to con­sid­er myself an artist in the great and ancient sense of the word. There have been great painters like Giot­to, Tit­ian, Rem­brandt and Goya. I am only a pub­lic enter­tain­er who has under­stood his time. This is a bit­ter con­fes­sion, mine, more painful indeed than it may seem, but it has the mer­it of being sin­cere.” — Pablo Picas­so (In ORIGIN 12, 1964)

Of course Jim C & John Ker­hu, chil­dren CAN paint just like Picas­so in imi­ta­tion. But you won’t find a 7yr old con­ceiv­ing the works he con­ceived through­out the 20th cen­tu­ry. There lies the twist.

The hon­esty is almost painful and, sure­ly, dis­arms all the cyn­i­cal

adverse crit­i­cism. Take him or leave him, the choice is the

view­er’s, but there is no need to resort to low jibes. Emu­late

the man’s humil­i­ty and sus­pend your judge­ment.