A tour in 20 images
Creative crises are not good or bad. They just are. They must be. The pivotal moment is when you come to the conclusion that good artists produce, in the best-case scenario, no more than a dozen really good works throughout their whole career, and the rest of their production, sometimes quite prolific, live at their expense. Without those references, those artists would not be who they are.
Picasso’s work would not be the same without Guernica and Gertrude Stein’s portrait; De Kooning’s would not have the same value without four or five of his Women, always the same ones; Miró owes a lot to his Constellations and to The Farm. The problem for the artist who roams around their studio with fallen shoulders and an absent gaze, fearing to start a new work and discover it is the same one as yesterday, just masked, comes when they suspect that work has already been done.