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Author: William Marquina Title: Picasso’s Chats Technique: oil on canvas Dimensions: 103 x 170 cm (40.55 x 66.92 in) Year: 2020 Key words: Pablo Picasso, Picasso, cubism, Dora Maar, Marie Therése-Walter, portrait, 20th century, Yellow Jersey, Woman Crying, the dream. networks. Description: Until now, in his "Picasso Copy" series, the artist had made two copies as a study of Picasso's work, ("The Crying Woman" and "The Yellow Jersey", both made in 2018). Now William reopens this series with a new production dedicated to reinterpreting Marie therese-walter in "The Dream", integrating the two copies of Dora Maar, in which he explores the concept of chats as an element that is combined with the fact of establish mass communication of emotions through social networks. The artist seeks to migrate the sense of portraiture that Picasso himself initially gave to each character, to later highlight them as relevant characters in the space of painting, where the emotional force with which each one expressed himself, now has relevance, highlighting these from a vision of what Picasso really wanted: to be able to communicate in each portrait all the feelings he wanted to express, each painting was a kind of compressed messages, with many meanings, similar to today's chats. William believes that each portrait of Picasso can be studied from an analogy with the new popular trends to communicate emotions through social networks, in which popular emoticons and emojis are often used, the well-known animated figures with which we express all kinds of emotions when it comes to spreading the messages on the networks. For William, most of Picasso's works are indirect predecessors of the rise of emotional description through images, they are like complex synthetic emoticons. Each portrait of Picasso's women are intentionally complete messages of disgust, anger, contempt, but also of love, understanding, sweetness, serenity, beauty, etc., both of what the artist himself felt, as well as of the emotional state, of his character through the different deformations in faces, hands and body in general. The three portraits appear in the foreground, highlighting the entire space of the painting, so that the three figures are gathered in front of the viewer, giving the sensation of unity and familiarity. At the end of the space between the two figures of Dora Maar is that of Picasso, who appears painting bathed in white light behind him, like the onniscient hermes of his messages that remain for the posterity of the erte. The realization of this painting required four months of constant, careful and very meticulous work. It is signed front and back, not stretched over a frame or framed. Your shipment will be rolled. You can see the videos of this artist, available at the following links: https://youtube.com/watch?v=if3Xf7513H4&feature=youtu.be https://youtube.com/watch?v=td76FeUg7Dw&t=65s https://youtube.com/watch?v=KnmMAxeu2nk https://youtube.com/watch?v=JmjZ1ir3Tu8 https://youtube.com/watch?v=bGY1nRWEHC0
Author: William Marquina Title: Picasso’s Chats Technique: oil on canvas Dimensions: 103 x 170 cm (40.55 x 66.92 in) Year: 2020 Key words: Pablo Picasso, Picasso, cubism, Dora Maar, Marie Therése-Walter, portrait, 20th century, Yellow Jersey, Woman Crying, the dream. networks. Description: Until now, in his "Picasso Copy" series, the artist had made two copies as a study of Picasso's work, ("The Crying Woman" and "The Yellow Jersey", both made in 2018). Now William reopens this series with a new production dedicated to reinterpreting Marie therese-walter in "The Dream", integrating the two copies of Dora Maar, in which he explores the concept of chats as an element that is combined with the fact of establish mass communication of emotions through social networks. The artist seeks to migrate the sense of portraiture that Picasso himself initially gave to each character, to later highlight them as relevant characters in the space of painting, where the emotional force with which each one expressed himself, now has relevance, highlighting these from a vision of what Picasso really wanted: to be able to communicate in each portrait all the feelings he wanted to express, each painting was a kind of compressed messages, with many meanings, similar to today's chats. William believes that each portrait of Picasso can be studied from an analogy with the new popular trends to communicate emotions through social networks, in which popular emoticons and emojis are often used, the well-known animated figures with which we express all kinds of emotions when it comes to spreading the messages on the networks. For William, most of Picasso's works are indirect predecessors of the rise of emotional description through images, they are like complex synthetic emoticons. Each portrait of Picasso's women are intentionally complete messages of disgust, anger, contempt, but also of love, understanding, sweetness, serenity, beauty, etc., both of what the artist himself felt, as well as of the emotional state, of his character through the different deformations in faces, hands and body in general. The three portraits appear in the foreground, highlighting the entire space of the painting, so that the three figures are gathered in front of the viewer, giving the sensation of unity and familiarity. At the end of the space between the two figures of Dora Maar is that of Picasso, who appears painting bathed in white light behind him, like the onniscient hermes of his messages that remain for the posterity of the erte. The realization of this painting required four months of constant, careful and very meticulous work. It is signed front and back, not stretched over a frame or framed. Your shipment will be rolled. You can see the videos of this artist, available at the following links: https://youtube.com/watch?v=if3Xf7513H4&feature=youtu.be https://youtube.com/watch?v=td76FeUg7Dw&t=65s https://youtube.com/watch?v=KnmMAxeu2nk https://youtube.com/watch?v=JmjZ1ir3Tu8 https://youtube.com/watch?v=bGY1nRWEHC0
Author: William Marquina Title: Picasso’s Chats Technique: oil on canvas Dimensions: 103 x 170 cm (40.55 x 66.92 in) Year: 2020 Key words: Pablo Picasso, Picasso, cubism, Dora Maar, Marie Therése-Walter, portrait, 20th century, Yellow Jersey, Woman Crying, the dream. networks. Description: Until now, in his "Picasso Copy" series, the artist had made two copies as a study of Picasso's work, ("The Crying Woman" and "The Yellow Jersey", both made in 2018). Now William reopens this series with a new production dedicated to reinterpreting Marie therese-walter in "The Dream", integrating the two copies of Dora Maar, in which he explores the concept of chats as an element that is combined with the fact of establish mass communication of emotions through social networks. The artist seeks to migrate the sense of portraiture that Picasso himself initially gave to each character, to later highlight them as relevant characters in the space of painting, where the emotional force with which each one expressed himself, now has relevance, highlighting these from a vision of what Picasso really wanted: to be able to communicate in each portrait all the feelings he wanted to express, each painting was a kind of compressed messages, with many meanings, similar to today's chats. William believes that each portrait of Picasso can be studied from an analogy with the new popular trends to communicate emotions through social networks, in which popular emoticons and emojis are often used, the well-known animated figures with which we express all kinds of emotions when it comes to spreading the messages on the networks. For William, most of Picasso's works are indirect predecessors of the rise of emotional description through images, they are like complex synthetic emoticons. Each portrait of Picasso's women are intentionally complete messages of disgust, anger, contempt, but also of love, understanding, sweetness, serenity, beauty, etc., both of what the artist himself felt, as well as of the emotional state, of his character through the different deformations in faces, hands and body in general. The three portraits appear in the foreground, highlighting the entire space of the painting, so that the three figures are gathered in front of the viewer, giving the sensation of unity and familiarity. At the end of the space between the two figures of Dora Maar is that of Picasso, who appears painting bathed in white light behind him, like the onniscient hermes of his messages that remain for the posterity of the erte. The realization of this painting required four months of constant, careful and very meticulous work. It is signed front and back, not stretched over a frame or framed. Your shipment will be rolled. You can see the videos of this artist, available at the following links: https://youtube.com/watch?v=if3Xf7513H4&feature=youtu.be https://youtube.com/watch?v=td76FeUg7Dw&t=65s https://youtube.com/watch?v=KnmMAxeu2nk https://youtube.com/watch?v=JmjZ1ir3Tu8 https://youtube.com/watch?v=bGY1nRWEHC0
Author: William Marquina Title: Picasso’s Chats Technique: oil on canvas Dimensions: 103 x 170 cm (40.55 x 66.92 in) Year: 2020 Key words: Pablo Picasso, Picasso, cubism, Dora Maar, Marie Therése-Walter, portrait, 20th century, Yellow Jersey, Woman Crying, the dream. networks. Description: Until now, in his "Picasso Copy" series, the artist had made two copies as a study of Picasso's work, ("The Crying Woman" and "The Yellow Jersey", both made in 2018). Now William reopens this series with a new production dedicated to reinterpreting Marie therese-walter in "The Dream", integrating the two copies of Dora Maar, in which he explores the concept of chats as an element that is combined with the fact of establish mass communication of emotions through social networks. The artist seeks to migrate the sense of portraiture that Picasso himself initially gave to each character, to later highlight them as relevant characters in the space of painting, where the emotional force with which each one expressed himself, now has relevance, highlighting these from a vision of what Picasso really wanted: to be able to communicate in each portrait all the feelings he wanted to express, each painting was a kind of compressed messages, with many meanings, similar to today's chats. William believes that each portrait of Picasso can be studied from an analogy with the new popular trends to communicate emotions through social networks, in which popular emoticons and emojis are often used, the well-known animated figures with which we express all kinds of emotions when it comes to spreading the messages on the networks. For William, most of Picasso's works are indirect predecessors of the rise of emotional description through images, they are like complex synthetic emoticons. Each portrait of Picasso's women are intentionally complete messages of disgust, anger, contempt, but also of love, understanding, sweetness, serenity, beauty, etc., both of what the artist himself felt, as well as of the emotional state, of his character through the different deformations in faces, hands and body in general. The three portraits appear in the foreground, highlighting the entire space of the painting, so that the three figures are gathered in front of the viewer, giving the sensation of unity and familiarity. At the end of the space between the two figures of Dora Maar is that of Picasso, who appears painting bathed in white light behind him, like the onniscient hermes of his messages that remain for the posterity of the erte. The realization of this painting required four months of constant, careful and very meticulous work. It is signed front and back, not stretched over a frame or framed. Your shipment will be rolled. You can see the videos of this artist, available at the following links: https://youtube.com/watch?v=if3Xf7513H4&feature=youtu.be https://youtube.com/watch?v=td76FeUg7Dw&t=65s https://youtube.com/watch?v=KnmMAxeu2nk https://youtube.com/watch?v=JmjZ1ir3Tu8 https://youtube.com/watch?v=bGY1nRWEHC0
Author: William Marquina Title: Picasso’s Chats Technique: oil on canvas Dimensions: 103 x 170 cm (40.55 x 66.92 in) Year: 2020 Key words: Pablo Picasso, Picasso, cubism, Dora Maar, Marie Therése-Walter, portrait, 20th century, Yellow Jersey, Woman Crying, the dream. networks. Description: Until now, in his "Picasso Copy" series, the artist had made two copies as a study of Picasso's work, ("The Crying Woman" and "The Yellow Jersey", both made in 2018). Now William reopens this series with a new production dedicated to reinterpreting Marie therese-walter in "The Dream", integrating the two copies of Dora Maar, in which he explores the concept of chats as an element that is combined with the fact of establish mass communication of emotions through social networks. The artist seeks to migrate the sense of portraiture that Picasso himself initially gave to each character, to later highlight them as relevant characters in the space of painting, where the emotional force with which each one expressed himself, now has relevance, highlighting these from a vision of what Picasso really wanted: to be able to communicate in each portrait all the feelings he wanted to express, each painting was a kind of compressed messages, with many meanings, similar to today's chats. William believes that each portrait of Picasso can be studied from an analogy with the new popular trends to communicate emotions through social networks, in which popular emoticons and emojis are often used, the well-known animated figures with which we express all kinds of emotions when it comes to spreading the messages on the networks. For William, most of Picasso's works are indirect predecessors of the rise of emotional description through images, they are like complex synthetic emoticons. Each portrait of Picasso's women are intentionally complete messages of disgust, anger, contempt, but also of love, understanding, sweetness, serenity, beauty, etc., both of what the artist himself felt, as well as of the emotional state, of his character through the different deformations in faces, hands and body in general. The three portraits appear in the foreground, highlighting the entire space of the painting, so that the three figures are gathered in front of the viewer, giving the sensation of unity and familiarity. At the end of the space between the two figures of Dora Maar is that of Picasso, who appears painting bathed in white light behind him, like the onniscient hermes of his messages that remain for the posterity of the erte. The realization of this painting required four months of constant, careful and very meticulous work. It is signed front and back, not stretched over a frame or framed. Your shipment will be rolled. You can see the videos of this artist, available at the following links: https://youtube.com/watch?v=if3Xf7513H4&feature=youtu.be https://youtube.com/watch?v=td76FeUg7Dw&t=65s https://youtube.com/watch?v=KnmMAxeu2nk https://youtube.com/watch?v=JmjZ1ir3Tu8 https://youtube.com/watch?v=bGY1nRWEHC0

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Picasso's Chats Painting

William Rafael Marquina Buitrago

Ecuador

Painting, Oil on Canvas

Size: 66.9 W x 40.6 H x 1.2 D in

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Author: William Marquina Title: Picasso’s Chats Technique: oil on canvas Dimensions: 103 x 170 cm (40.55 x 66.92 in) Year: 2020 Key words: Pablo Picasso, Picasso, cubism, Dora Maar, Marie Therése-Walter, portrait, 20th century, Yellow Jersey, Woman Crying, the dream. networks. Description: ...

Year Created:

2020

Subject:

Pop Culture/Celebrity

Styles:

Modern

, 

Surrealism

, 

Figurative

, 

Pop Art

 

Mediums:

Oil

, 

Canvas

 

Mediums:

Painting, Oil on Canvas

Rarity:

One-of-a-kind Artwork

Size:

66.9 W x 40.6 H x 1.2 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships Rolled in a Tube

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

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14-day return policy. Visit our help section for more information.

Handling:

Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Ecuador.

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Need more information?

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William Marquina was born in Merida, Venezuela. Attracted by the works of great masters such as Picasso and Leonardo, at the age of 11 he participated in a Sunday outdoor painting workshop. After graduating in visual arts at the University of Los Andes, he studied for a master’s degree in philosophy, followed by an unfinished doctorate, and was a short-term visual arts teacher at the same university. From now on, William will pursue his passion for art by experimenting with different themes, techniques, styles and media. Disappointed by the unstable situation in his country, he emigrated to the city of Quito in 2019 where he currently lives and produces his works. William’s production has been experimentally versatile and challenges us with series characterized by the desire to seek, study and complement the archaic and the contemporary. Among his series are: Brillo, Copia Picasso, Copia Matisse, Copia Da Vinci and Apercepciones. In the latter, he highlights in painting, the subjective complexity in the world of perceptions. He has been exhibiting his recent works in the city of Quito: “What do you see?” at the Humboldt Association (2024); a collective exhibition at the AQ Arte Feria de Quito (2024). In 2023 his retrospective “Imbrications in Painting”; in 2021 International Painting Exhibition at the Casal Català Quito and in 2019 “Exhibition of Ecuadorian Painting” at the Quito City Hall. Other important individual exhibitions but in Venezuela were: in 2012 “Cartographies of the Terrestrial and the Transterráneo”; in 2017 “Care. Path and Limit”, and in 2007 “Essences”. Awarded the First Prize for Arts for University Students, in 2001.

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