Conxita boncompte picasso biography

The painter and art historian Conxita Boncompte received the José Manuel Blecua Prize for her thesis Iconografía picassiana entre 1905-1907.
QUALIFICATIONS.
She gave lessons about Picasso at the Ramon Llull University, worked at the Regional Culture Ministry and at the former Agency of Sponsorship and Patronage of.

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Conxita Boncompte: “I have reclassified ʻLes demoiselles d'Avignonʼ as a ʻtemple brothelʼ in which sex and religion are indissolubly linked”

Your relation with Picasso and his work is not limited to the research you develop; Picasso is also present on your first paintings. Anyway, why did you base your doctoral thesis on the figure of Picasso?

As a painter, I am interested in all the history of art, so it was difficult for me to focus my attention only on one period. I decided to base my thesis on Picasso because I was making a revision of past artists. I was giving some lessons about Picasso, Miró, etc. at the Ramon Llull University (2005-2006), and I realized that the works made by the artist in Gósol (1906) were influenced by the models and colours of Pompeian frescos. I began to write an article on this subject but it became so oversized that I considered it the main topic of my thesis.

It is no coincidence that my doctoral thesis was based on Picasso because he was part of my essence as a painter. When I was ten years old, I learnt how to oil paint using Picasso

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Young Woman of Gósol

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Title:Young Woman of Gósol

Artist:Pablo Picasso (Spanish, Malaga 1881–1973 Mougins, France)

Date:1906

Medium:Conté crayon on paper

Dimensions:24 1/2 x 14 1/4 in. (62.2 x 36.2 cm)

Classification:Drawings

Credit Line:Bequest of Walter C. Baker, 1971

Object Number:1972.118.296

Paul Huldschinsky, Berlin (probably acquired through Wilhelm Uhde); his widow, Mrs. A. Fürstenberg, Amsterdam (probably until after World War II); Kurt Stern, New York (until 1950; sold in 1950 to Wildenstein); [Wildenstein & Co., New York, 1950–51; sold in 1951 to Baker]; Walter C. Baker, New York (1951–d. 1971; his bequest to MMA)

Amsterdam. Stedelijk Museum. "Moderne Kunst Kring: Internationale tentoonstelling van moderne kunst," October 6–November 5, 1911, no. 102.

Wildenstein & Co., Ltd., London. "The Art of Drawing, 1500–1950," May 14–July 4, 1953, no. 126 [possibly this picture].

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A revision of Picasso's work

Pompeian frescos may have had an influence on Picassoʼs works between 1905 and 1907 as it can be observed in the models he reproduced and in the way he used the cinnabar red, a colour used in profusion in the works recovered from the Neapolitan town. This encouraged his transition from the Blue to the Rose Period. This is the main conclusion of the thesis Iconografía picassiana entre 1905-1907. Influencia de la pintura pompeyana, by the painter and art historian Conxtia Boncompte. Her work gave birth later to an article that was published in the journal Goya. The research offers a new interpretation of the period (traditionally subdivided into three colour stages: rose, ochre and black pigments), and provides a new look to the whole work of this international artist.

Boncompteʼs research analyses Picassoʼs work taking as a departure point Pompeian painting. Picassoʼs interest in coming back to Paris (1904) was raised by the exhibition and sale of Boscorealeʼs frescos that took place in Paris (1903) and the international dissemin