Pablo Picasso

Picasso was baptized Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Crispiniano de la Santísima Trinidad, a series of names honoring various saints and relatives. Added to these were Ruiz and Picasso, for his father and mother, respectively, as per Spanish law. Born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López. Picasso’s family was middle-class. His father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts and a curator of a local museum. Ruiz’s ancestors were minor aristocrats.
Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were “piz, piz”, a shortening of lápiz, the Spanish word for ‘pencil’. From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was a traditional, academic artist and instructor who believed that proper training required disciplined copying of the masters, and drawing the human body from plaster casts and live models. His son became preoccupied with art to the detriment of his classwork.

The family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. They stayed almost four years. On one occasion the father found his son painting over his unfinished sketch of a pigeon. Observing the precision of his son’s technique, an Apocrypha story relates that Ruiz felt that the thirteen-year-old Picasso had surpassed him, and vowed to give up painting, though paintings by Ruiz exist from later yearsIn. 1895, Picasso was traumatized when his seven-year-old sister, Conchita, died of diphtheria. After her death, the family moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home. Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, and the impressed jury admitted Picasso, who was 13. The student lacked discipline but made friendships that would affect him in later life. His father rented him a small room close to home so Picasso could work alone, yet Ruiz checked up on him numerous times a day, judging his son’s drawings. The two argued frequently.Picasso’s father and uncle decided to send the young artist to Madrid’s Royal Academy of San Fernando, the country's foremost art school. At age 16, Picasso set off for the first time on his own, but he disliked formal instruction and quit attending classes soon after enrollment. Madrid, however, held many other attractions. The Prado housed paintings by Diego Velázquez, Francisco Goya, and Francisco Zurbarán. Picasso especially admired the works of El Greco; elements like the elongated limbs, arresting colors, and mystical visages are echoed in Picasso’s later work.

Martiros Saryan

Saryan was one of the plead of major cultural figures of Armenia at the turn of the century. His work, in common with the library contributions of O. Tumanian and A. Isaakian, those of T. Toramanian and A. Tamanian in architecture, and of Komitas in national music, set the standard of national art, and laid the foundations for its flowering in the Soviet period.A new stage in Saryan's work began in 1909. There is no longer anything fantastic in the subjects of such paintings as "Self-portrait" (two versions), "In the Grove at Sambek", "Morning at Stavrino", "Hyenas", or "Burning Heat with a Dog Running". In "Morning at Stavrino", an actual place is depicted, the yard of his father's farm, yet the canvas breathes the mystery of awakening nature.

Among his celebrated pictures belonging to the beginning of the 1910s are "A Street at Noon: Constantinople, Dogs of Constantinople, Date-palm in Egypt, Night Landscape, Still-life with Grapes, Flowers of Kalaki, Still-life with Masks, Flowers of the East". Each of these works, with its brilliant, joyous colors, overcomes the viewer with a sensation of the joy of life.

Landscape always remained a leading aspect of Saryan's art. But beginning with the 1920s landscape became more synthetic monumental in character. The artist creates a generalized image of Armenia. In the paintings "Armenia", "Mountains", "Midday Stillness", "Erevan", "Mount Aragats", an effect of spatial depth is achieved through a balanced arrangement of saturated color patches. The absolute harmony of color and light arouses in the viewer a restful feeling, a deep sense of peace.

The artist brings to each of his works the most delicate shades of a mood, an intimate, lyrical mood in most cases. He composes cycles in which the meaning of the present and the eternal is philosophically explored. One such series consisting of seven landscapes, "My Homeland".

Leonardo da Vinci (1452-1519)

It may seem unusual to include Leonardo da Vinci in a list of paleontologists and evolutionary biologists. Leonardo was and is best known as an artist, the creator of such masterpieces as the Mona Lisa, Madonna of the Rocks, and The Last Supper. Yet Leonardo was far more than a great artist: he had one of the best scientific minds of his time. He made painstaking observations and carried out research in fields ranging from architecture and civil engineering to astronomy to anatomy and zoology to geography, geology and paleontology. In the words of his biographer Giorgio Vasari.

The most heavenly gifts seem to be showered on certain human beings। Sometimes supernaturally, marvelously, they all congregate in one individual . This was seen and acknowledged by all men in the case of Leonardo da Vinci, who had an indescribable grace in every effortless act and deed. His talent was so rare that he mastered any subject to which he turned his attention . He might have been a scientist if he had not been so versatile.
Leonardo's scientific and technical observations are found in his handwritten manuscripts, of which over 4000 pages survive, including the one pictured on the right, showing some rock formations (click on it to view an enlargement) It seems that Leonardo planned to publish them as a great encyclopedia of knowledge, but like many of his projects, this one was never finished. The manuscripts are difficult to read: not only did Leonardo write in mirror-image script from right to left, but he used peculiar spellings and abbreviations, and his notes are not arranged in any logical order. After his death his notes were scattered to libraries and collections all over Europe. While portions of Leonardo's technical treatises on painting were published as early as 1651, the scope and caliber of much of his scientific work remained unknown until the 19th century. Yet his geological and paleontological observations and theories foreshadow many later breakthroughs.In Leonardo's day there were several hypotheses of how it was that shells and other living creatures were found in rocks on the tops of mountans. Some believed the shells to have been carried there by the Biblical Flood; others thought that these shells had grown in the rocks. Leonardo had no patience with either hypothesis, and refuted both using his careful observations. Concerning the second hypothesis, he wrote that "such an opinion cannot exist in a brain of much reason; because here are the years of their growth, numbered on their shells, and there are large and small ones to be seen which could not have grown without food, and could not have fed without motion -- and here they could not move." There was every sign that these shells had once been living organisms. What about the Great Flood mentioned in the Bible? Leonardo doubted the existence of a single worldwide flood, noting that there would have been no place for the water to go when it receded. He also noted that "if the shells had been carried by the muddy deluge they would have been mixed up, and separated from each other amidst the mud, and not in regular steps and layers -- as we see them now in our time." He noted that rain falling on mountains rushed downhill, not uphill, and suggested that any Great Flood would have carried fossils away from the land, not towards it. He described sessile fossils such as oysters and corals, and considered it impossible that one flood could have carried them 300 miles inland, or that they could have crawled 300 miles in the forty days and nights of the Biblical flood.

How did those shells come to lie at the tops of mountains? Leonardo's answer was remarkably close to the modern one: fossils were once-living organisms that had been buried at a time before the mountains were raised: "it must be presumed that in those places there were sea coasts, where all the shells were thrown up, broken, and divided." Where there is now land, there was once ocean. It was possible, Leonardo thought, that some fossils were buried by floods this idea probably came from his observations of the floods of the Arno River and other rivers of north Italy but these floods had been repeated, local catastrophes, not a single Great Flood. To Leonardo da Vinci, as to modern paleontologists, fossils indicated the history of the Earth, which extends far beyond human records. As Leonardo himself wrote:

Since things are much more ancient than letters, it is no marvel if, in our day, no records exist of these seas having covered so many countries.But sufficient for us is the testimony of things created in the salt waters, and found again in high mountains far from the seas.