A groundbreaking reassessment of Picasso by one of
today's preeminent art historians Picasso and
Truth offers a breathtaking and original new look at the most
significant artist of the modern era. ...From Pablo Picasso's early
The Blue Room to the later Guernica , eminent art
historian T. J. Clark offers a striking reassessment of the
artist's paintings from the 1920s and 1930s. Why was the space of a
room so basic to Picasso's worldview? And what happened to his art
when he began to feel that room-space become too confined-too
little exposed to the catastrophes of the twentieth century? Clark
explores the role of space and the interior, and the battle between
intimacy and monstrosity, in Picasso's art. Based on the A. W.
Mellon Lectures in the Fine Arts delivered at the National Gallery
of Art, this volume remedies the biographical and idolatrous
tendencies of most studies on Picasso, reasserting the structure
and substance of the artist's work. With compelling insight, Clark
focuses on three central works-the large-scale Guitar and
Mandolin on a Table (1924), The Three Dancers (1925),
and The Painter and His Model (1927)-and explores
Picasso's answer to Nietzsche's belief that the age-old commitment
to truth was imploding in modern European culture. Masterful in its
historical contextualization, Picasso and Truth rescues
Picasso from the celebrity culture that trivializes his
accomplishments and returns us to the tragic vision of his
art-humane and appalling, naïve and difficult, in mourning for a
lost nineteenth century, yet utterly exposed to the hell of Europe
between the wars. Published in association with the Center for
Advanced Study in the Visual Arts, National Gallery of Art,
Washington, DC Please note: All images in this ebook are presented
in black and white and have been reduced in size.
PICASSO E HISTORIA Guirado, Ramón Melero
Imafronte (Murcia),
01/2021
28
Journal Article
Recenzirano
Odprti dostop
Sin embargo, sus contenidos difieren del programa de aquel encuentro académico: se incorporan dos ensayos de autores que no participaron en el congreso4 y, por el contrario, se excluyen algunos de ...los trabajos presentados en el mismo, concretamente quince. Red City, Blue Period: Social Movements in Picasso's Barcelona. Berkely: University of California Press. 7 Concretamente, y retomando la definición de Herbert Read, la autora lo designa como un "monumento negativo": "un monumento a la destrucción, un grito de indignación y de horror amplificado por el espíritu de un genio" (Robles, 2011:85).
El presente artículo busca ofrecer un análisis en torno a un conjunto de pinturas de pequeño formato que Pablo Picasso realizó durante sus vacaciones en Dinard el mes de agosto de 1928. Estas ...supusieron una transformación pictórica radical, además de una breve etapa fascinante que afianzaron decisivamente las perversiones monstruosas del cuerpo y su sexualidad en la obra del pintor malagueño. Para ello, será necesario hacer un breve repaso sobre los años anteriores a 1928 para comprender el origen de esta fractura pictórica, además de destacar su huella en algunos cambios significativos que Picasso adoptará en su pintura posterior a esta misma fecha.
Studies of human genetic disorders have traditionally followed a reductionist paradigm. Traits are defined as Mendelian or complex based on family pedigree and population data, whereas alleles are ...deemed rare, common, benign, or deleterious based on their population frequencies. The availability of exome and genome data, as well as gene and allele discovery for various conditions, is beginning to challenge classic definitions of genetic causality. Here, I discuss recent advances in our understanding of the overlap between rare and complex diseases and the context-dependent effect of both rare and common alleles that underscores the need for revising the traditional categorizations of genetic traits.
In the summer of 1917 in Barcelona, Picasso worked on four paintings inspired by Ballets Russes, using a similar set of material for all of them, including seven pigments, drying oils, animal glue ...and canvas. The four paintings remained in Picasso's family home until 1970 when they were donated to the Museu Picasso in Barcelona. A century after it was created, the painting Hombre sentado (Seated man) seemed to be in precarious conservation conditions which were worse than the other three paintings in the series. Experts observed numerous superficial cracks and the museum decided to restore the painting, but it wanted to understand why such similar paintings, which had been stored in similar conditions for a century, were so different.
In structural analyses of innovation, one substantive question looms large: What makes radical innovation possible if peripheral actors are more likely to originate radical ideas but are poorly ...positioned to promote them? An inductive study of the rise of Cubism, a revolutionary paradigm that overthrew classic principles of representation in art, results in a model where not only the periphery moves toward the core through collective action, as typically asserted, but the core also moves toward the periphery, becoming more receptive to radical ideas. The fragmentation of the art market in early 20th-century Paris served as the trigger. The proliferation of market niches and growing ambiguity over evaluation standards dramatically reduced the costs of experimentation in the periphery and the ability of the core to suppress radical ideas. A multilevel analysis linking individual creativity, peer networks, and the art field reveals how market developments fostered Spanish Cubist Pablo Picasso’s experiments and facilitated their diffusion in the absence of public support, a coherent movement, and even his active involvement. If past research attests to the importance of framing innovations and mobilizing resources in their support, this study brings attention to shifts in the structure of opportunities to do so.
'A working countryside is hardly ever a landscape', Raymond Williams observed fifty years ago in his book The Country and the City; for to perceive it as such is to have both the leisure and the ...distance from it, to aestheticize it. This essay argues that, similarly, art practices have too often been understood 'from the outside in': that in Cubist representations of the Mediterranean, the picturesque quality of the Riviera insinuated itself--indeed that that the influence of the decorative was so far-reaching in the inter-World War years that it co-opted avant-gardism itself, and that the Riviera was one of its vehicles for doing so.
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