If something goes awry, it’s said to have gone a bit ‘Picasso.’ If you ‘Drive it like Andretti,’ you’re the unquestioned alpha at whatever it is that you do. In between is a prolific, groundbreaking body of work by a man whose name, like Picasso’s, is deeply ingrained in popular culture. There have been racing legends before Andretti, trailblazers like Alberto Ascari and Stirling Moss who helped legitimize Formula One racing during its infancy, and there have been stars who have come after Andretti, charismatic drivers like Lewis Hamilton who have elevated the sport into a different stratosphere. The stream of masterpieces that flowed through Picasso during his lifetime – works that include Le Rêve, The Weeping Woman, and Guernica – validated his genius and secured his place among the greatest artists to ever live. He soon took a (figurative) sledgehammer to centuries of pictorial art and introduced the world to Cubism, said to be the most momentous innovation in art since the development of perspective. As it turns out, Picasso was just getting started. Rather than painting to imitate nature, Picasso abandoned 600 years of artistic refinement to produce his signature masterpiece, emerging with what is considered the rupture moment between the art of the past and the art of the future. Gone were the whimsical figures and haunting landscapes of his Rose Period, replaced instead with ugly, angular women rising from jagged fragments of shattered glass.
He backed up this bold proclamation by ripping apart conventional art and giving us the jaw-dropping Les Demoiselles d’Avignon. McClellan | Picasso once said that where others have seen what is and asked why, Picasso himself saw what could be and asked why not.
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