Emily's Blue Period Dawes, Erika Thulin
Language arts,
09/2016, Letnik:
94, Številka:
1
Journal Article
Recenzirano
While her emotional turmoil is expressed internally, Emily's little brother Jack acts out, throwing a temper tantrum as they shop for Dad's new home furnishings.
The cultural heritage community is increasingly exploring synchrotron radiation (SR) based techniques for the study of art and archaeological objects. When considering heterogeneous and complex ...micro-samples, such as those from paintings, the combination of different SR X-ray techniques is often exploited to overcome the intrinsic limitations and sensitivity of the single technique. Less frequently, SR X-ray analyses are combined with SR micro-photoluminescence or micro-Fourier Transform Infrared spectroscopy, which provide complementary information on the molecular composition, offering a unique integrated analysis approach. Although the spatial correlation between the maps obtained with different techniques is not straightforward due to the different volumes probed by each method, the combination of the information provides a greater understanding and insight into the paint chemistry. In this work, we discuss the advantages and disadvantages of the combination of X-ray techniques and SR-based photoluminescence through the study of two paint micro-samples taken from Pablo Picasso's Femme (1907). The painting contains two cadmium yellow paints (based on CdS): one relatively intact and one visibly degraded. SR micro-analyses demonstrated that the two Cd-yellow paints differ in terms of structure, chemical composition, and photoluminescence properties. In particular, on the basis of the combination of different SR measurements, we hypothesize that the degraded yellow is based on nanocrystalline CdS with high presence of Cd(OH)Cl. These two characteristics have enhanced the reactivity of the paint and strongly influenced its stability.
Brand management has become a key element in museum differentiation and competitiveness. When a museum's brand is associated with a particular artist, the artist is a brand in themselves, bestowing ...the museum added value and shaping its personality. In recent years there has been a growing trend in museum management towards strengthening their brands. The aim of this work is to determine the elements of transmission of brand identity in museums associated with an artist based on the model proposed by Aaker 1996. Construir Marcas Poderosas. Barcelona: Gestión 2000. A qualitative methodology based on thematic analysis has been employed to draw the main conclusions from the in-depth interviews of the directors and heads of Communication and Marketing of the Picasso museums in Spain. The results reflect that the link between brand, artist and museum is not only transmitted through the product, symbolism and organisation but also through its connection with the territory and its digital sphere.
Picasso twice quoted the name of Dufayel, once in relation with the name of the Louvre and once for the same period of his career, between 1910 and 1914. This essay explores the universe created by ...the businessman Georges Dufayel in order to understand the role it played in Picasso’s evolving cubism from that of analytic to synthetic.
Berger in Picasso’s Red Period Holman, Matthew
The Critical quarterly,
April 2023, 2023-04-00, 20230401, Letnik:
65, Številka:
1
Journal Article
Recenzirano
‘I cannot believe that he was in any way mistaken or that he chose the wrong political path’, John Berger wrote on Pablo Picasso’s transformation into perhaps the most famous communist in the Western ...world: ‘But as an artist with all his powers he was nevertheless wasted.’2 Picasso publicly and earnestly joined the Parti communiste français (PCF) in 1944, tacking his commitments firmly to the mast of cultural propagandist programmes in support of the party.3 In doing so, Berger believed his painting practice became exhausted, overworked, and finished.Berger had alighted on Picasso as he was struggling to work out what kind of viable formal future was still possible for social realism. In the early 1950s, before his move to Geneva and self-reinvention as a ‘European’ writer, his brand of British realism was the pejoratively described ‘kitchen sink’ style of painting – its drab indictments of post-war rationing, the cubby-holes that the welfare state forgot, its spit, its sawdust.4 Embroiled in a series of critical squabbles played out on review pages for much of the decade, or what James Hyman called the ‘Battle for Realism’, Berger sought to defend direct representation of material conditions against the vagaries of modernism’s withdrawal from history.5 Long after the ‘moment of cubism’, as Berger called it, the period between 1907 and 1914 when the movement ‘constituted a revolutionary change in the history of art’ but lacked all ‘social content’, Berger takes up the subject of Picasso and the cubist project as a historical subject.6 To this end, he devoted much of his attention to Picasso’s ‘red’ paintings, those works that the artist produced in the service of the official communist vision of the international peace movement in the early 1950s and, to a lesser extent, the socialist future to which, however inconsistently and however ambivalently, Berger committed himself for the rest of his life.
Editor’s Note Tylus, Jane
I Tatti studies,
10/2017, Letnik:
20, Številka:
2
Journal Article
Recenzirano
The artifact chosen for this issue’s cover is a round earthenware dish painted in solid, vibrant colors. It depicts a bullfight at the moment that the picador/centaur has gouged the bull with his ...lance, his hand outstretched in either benediction or curse. Encircling the rim of the plate spectators watching from individual boxes, their cartoon-like expressions ranging from impassive to stunned. Inscribed in reverse letters along the top is the date, 29 juin 1950 in the hand of Pablo Picasso.
Coining the Pablo Picasso Syndrome Suri, Ritika; Ali, Ashhar
Headache,
March 2020, 2020-Mar, 2020-03-00, 20200301, Letnik:
60, Številka:
3
Journal Article
Recenzirano
Background
The Alice in Wonderland Syndrome has been well described in the literature. Along with sensory disturbances, patients notably experience metamorphopsias, or distortions in size ...(micropsia/macropsia) and distance (teleopsia), particularly of body parts. Some migraineurs, however, report dislocation and disorientation of body parts, which are common features found in paintings of Pablo Picasso.
Methods
A 60‐year‐old female with a 20‐year history of chronic migraine presented for evaluation of frequent headaches and visual disturbances. In between her attacks of migraine, she would occasionally notice alterations which she describes as a “Picasso” painting. When looking at people, she would note their ear on top of their head, or their right arm would be short and attached to the face. This would occur 1‐2 times per week and would last 5 to 10 minutes. Inanimate objects, however, would not appear distorted.
Results
The available literature, including published works and biographies, suggests Picasso did not suffer from migraine. Nonetheless, careful descriptions taken from migraineurs with visual disturbances may uncover features that resemble his paintings, be it dislocation of limbs with hints of cubism, as reported above, or illusory splitting as has been previously reported.
Conclusion
Dislocation or disorientation of body parts as a migraine‐related visual phenomenon is rare and only sparsely reported in the medical literature. Coining of a “Pablo Picasso Syndrome” may better describe this occurrence.
Purpose
– In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful ...artists are powerful brands.
Design/methodology/approach
– Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso.
Findings
– Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their management of these powerful brands, artists generate a complex, multifaceted public identity that is distinct from a product brand but shares important characteristics with corporate brands, luxury brands and cultural/iconic brands.
Originality/value
– This research extends prior work by demonstrating that having an implicit understanding of the precepts of branding is not limited to contemporary artists and by connecting the artist to emerging conceptualizations of brands, particularly the nascent literatures on cultural, complex and corporate brands.
Larsson describes Clark's diary entries recording (or purporting to record) his perceptions and thoughts while looking at two Nicolas Poussin pictures in LA day in, day out, as one of the most ...significant recent stagings by an art historian of a 'lack of authorial clarity and cohesion', one which shortcircuits conventional expectations of claims of authority over Poussin and the past with its unstable prose.1 My essay, however, explores the question of the relations between subjectivity, object and history I posed above by turning to Clark's later and rather different book, Heaven on Earth: Painting and the Life to Come (2018), a collection of essays about worldliness and embodiment in pictures by Giotto, Pieter Bruegel the Elder, Poussin, Paolo Veronese and Pablo Picasso.2 I'll be proposing a rather different reading of Clark to Larsson's in which subject and object, imagination and history are seen to interact with one another in intricate and powerful verbal patterns. Published in 1979 in New Literary History, a journal established ten years before to explore the theoretical dimensions of literary criticism and which soon became a forum for theoretical debate across the humanities, the article strikes a rather different, more subjective tone to Baxandall's books and is a sometimes rather sarcastic put-down of contemporary theoretical wrangling, but it is also a significant theoretical intervention into the discipline.3 In a key section of the article, Baxandall develops an analysis of three and a half indirect ways words point to what is visually interesting in the object of study. First it extracts and deploys Baxandall's model for analysing relations between subjectivity, the object and history at the level of language. ...it reveals the sophistication and power with which subjectivity, object and history have been handled in some particularly excellent writing about art and the past, ranging from Baxandall to Clark.
Painting plainly Visscher, Kari L., MD MScBMC
Canadian Medical Association journal (CMAJ),
08/2018, Letnik:
190, Številka:
34
Journal Article
Recenzirano
Odprti dostop
As Dr Visscher's developed his professional identity as a physician, his interest in art lay patiently and unwavering at its foundation. When he was swept up in the storm of medical training, art was ...his lighthouse shaping his decisions while he navigated a path that incorporated his interests and skills. Radiology, a visual specialty rooted in anatomy, was a natural choice, although it was difficult initially mainly because of the negative stereotypes that annoyingly cling to it. This series of oil paintings depict real-life encounters he had during residency, without staging or embellishment. He used grayscale in the background and contrasted it with vibrant colors of the people to emphasize those human interactions that radiologists share with patients, staff and colleagues.
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