Picasso's Red Period : politics, peace, and public perception, 1937-73
In October 1944, Pablo Picasso joined the Parti communiste francÌ§ais (PCF) alongside numerous friends and intellectuals. Despite the fact that Picasso remained a member until his death, the sincerity of his political commitment and the connections between his art and his politics are difficult to assess. What are the methodological issues associated with being a politically engaged artist? More specifically, how can we relate art and politics in a way that problematises the question of Picassoâs political commitment? This thesis will explore the various ways of evaluating Picassoâs engagement with the PCF. Focus will be placed on the foundations of Picassoâs involvement with the Party, the World Peace Movement, and various Communist-affiliated groups. His actions, statements, artworks, and donations must all be assessed within a broad historical framework in an effort to piece together a cohesive picture of Picassoâs twenty-nine years as a PCF member. However, sincerity and personal motivations cannot be fully determined; therefore, we must also consider how Picassoâs politics were constructed by others. The outside perceptions of Picassoâs commitment to Communism will demonstrate the importance
Tavernese, Claudia Albina
Picasso's Red Period : politics, peace, and public perception, 1937-73. In October 1944, Pablo Picasso joined the Parti communiste francÌ§ais (PCF) alongside numerous friends and intellectuals. Despite the fact that Picasso remained a member until his death, the sincerity of his political commitment and the connections between his art and his politics are difficult to assess. What are the methodological issues associated with being a politically engaged artist? More specifically, how can we relate art and politics in a way that problematises the question of Picassoâs political commitment? This thesis will explore the various ways of evaluating Picassoâs engagement with the PCF. Focus will be placed on the foundations of Picassoâs involvement with the Party, the World Peace Movement, and various Communist-affiliated groups. His actions, statements, artworks, and donations must all be assessed within a broad historical framework in an effort to piece together a cohesive picture of Picassoâs twenty-nine years as a PCF member. However, sincerity and personal motivations cannot be fully determined; therefore, we must also consider how Picassoâs politics were constructed by others. The outside perceptions of Picassoâs commitment to Communism will demonstrate the importance
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