DOCSLIB.ORG

1. Jean-Auguste-Dominique Ingres 2. George

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1. Jean-Auguste-Dominique Ingres 2. George SESSION 17 Portraits 1800 - 2000 (Monday 2nd December & Tuesday 5th November) 1. Jean-Auguste-Dominique Ingres 1.1. Portrait of Monsieur Bertin 1832, oil on canvas, 116.2 cm × 94.9 cm Louvre 2. George Frederick Watts 2.1. Choosing (ELLen Terry) 1864 oil on strawboard (47 x 35cm) National Portrait Gallery 3. Cezanne, 3.1. Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress, c1888/9 oil on canvas, 116.5 x 89.5 cm, The Metropolitan Museum of Art, New York. 4. OdiLin Redon 4.1. Portrait of VioLet Heyman 1910 Pastel on paper(72 cm x 92 cm,) Cleveland Museum of Art 5. Henri Matisse 5.1. Woman in a Hat 1905 oil on canvas (81 x 60cm) San Fransisco Museum of Modern Art 6. Picasso 6.1. Portrait of DanieL-Henry KahnweiLer, 1910 oil on canvas (100 x 72cm) Chicago Institute of Arts 6.2. Weeping Woman 1937 oil on canvas (61 x 50cm) Tate 7. Otto Dix, 7.1. Portrait of the JournaList SyLvia von Harden 1926 oiL & tempera on wood (121 x 89cm) Georges Pompidou Centre 8. Leonora Carrington 8.1. Bird Superior: Portrait of Max Ernst c.1939. NationaL GaLLeries of ScotLand 9. Andy WarhoL 9.1. Portraits of ELvis 1963 siLkscreens on canvas c.200cm high, various Locations 10. David Hockney 10.1. Mr and Mrs CLarke and Percy 1971 Acrylic on canvas (213 x 305cm) Tate Britain 11. Lucien Freud 11.1. HM Queen ELizabeth II 2001 (15 x 22 cm) Queen's GaLLery, Buckingham PaLace, The Portrait of Monsieur Bertin is probably Inges’ most famous portrait; Bertin’s daughter wrote, "My father looked like a great lord; Ingres turned him into a fat farmer." Which is a bit hard on the artist who agonised for months trying to get it satisfactory to his own eyes. Édouard Manet described Bertin as "the Buddha of the self-satisfied, well-to-do, triumphant bourgeoisie." The painting can be admired for its sharp detaiLs and I think kinder critics might have pointed out how he has caught the restLess energy of the founder of the Journal des Débats, with a hunched body, hard set mouth and eyes fixed on the viewer. In 1864 the 46 year old George Frederick Watts painted the 16 year oLd actress ELLen Terry and her sister – and he married ELLen a week before her 17th birthday. The marriage was a compLete faiLure but he painted her severaL times and Choosing is the most famous of these portraits. His works are full of symbolism; the young woman must choose between showy but scentLess cameLLias or the vioLets she is cLutching to her heart. Her eyes are cLosed because for Watts’ knowing comes from intuition from within, not from Learnt response to the externaL world. She wears the brown wedding dress that HoLman Hunt had designed for her. Cezanne didn’t marry Hortense Fiquet, fearing Loss of his father’s financiaL support, untiL he thought it prudent to secure their 16 year oLd son’s inheritance. She aLways seems rather dour in his portraits of her – and has the same soLidness that he gives to Mt Saint-Victoire! The painting has an instability and sense of motion from the irreconcilable expressions on her face and perspective. Odilin Redon was an eminent forerunner of ‘Post-Impressionism’ and “SymboLism’. His earLy works were mainLy bLack and white – charcoaL drawings and Lithographs – but this Late work makes fuLL use of the boLd coLours possibLe with pasteL. Violette’s stiLL and focused profiLe suggests she is in a dreamlike state – so we may wonder if the bLossoms exist onLy in her imagination. The artist said he tried to “place the visible at the service of the invisibLe”. Henri Matisse caused an outrage with his Fauvist portrait of his wife in Woman with a Hat as it was seen as disrespectfuL to her, although that wouLd not have been his attention and their marriage was stabLe and happy. He has taken Cezanne’s advice and painted what he reaLLy ‘saw’; when asked what she was actuaLLy wearing he is reputedLy repLied “BLack of course.” The Portrait of Daniel-Henry Kahnweiler breaks up of form to the point at which the sitter seems bareLy discernibLe, KahnweiLer's face can just about be picked out in the upper-right of the image, identifiabLe mainLy by the incLusion of a wave of hair and a simpLe Line to suggest a moustache. Two simiLar Lines in the lower centre of the image register his watch chain, whilst his cLasped hands can be seen at bottom-centre. And Picasso included a barely discernable African mask in the top-left. When it was included in an exhibition the Guardian described it as "probabLy the greatest work of modern art currentLy on view in London", mentioning how Picasso "demoLished everything peopLe had beLieved a portrait to be for the past 2,000 years or so." After compLeting the mural ‘Guernica’, Picasso spent months producing other images of weeping women based on one figure. The Weeping Woman in the Tate is his then mistress Dora Maar. Otto Dix claimed that the journaList Sylvia von Harden represented the age when he stopped her in the street and asked to paint her. She responded “So, you want to paint my lacklustre eyes, my ornate ears, my long nose, my thin lips; you want to paint my long hands, my short legs, my big feet — things which can only scare people off and delight no-one?” He responded, “You have brilliantly characterized yourself, and all that will lead to a portrait representative of an epoch concerned not with the outward beauty of a woman but rather with her psychological condition.” The young Leonora Carrington portrays her oLder Lover in Bird Superior: Portrait of Max Ernst. Leonora refused to accept the expected role of muse and the white staLLion – a surrogate for herseLf – is twice present, both trapped in the ice and encased in the Lantern held by Ernst. He, a shamanic figure dressed in a shaggy feather robe compLete with a merman taiL and garish striped stockings, Looks despondent in the desoLate, gLaciaL Landscape. The painting conveys a strong sense of the emotionaL and physical captivity that Carrington feLt and from which she was desperate to be freed. In 1962 Andy Warhol began using screen-printing, thinking that his previous use of rubber-stamp method appeared too homemade. He wanted to recreate something that reflected the assembLy Line. The image of Elvis was taken from a pubLicity stiLL for the 1960 fiLm Flaming Star and the images were sent to an exhibition in Los AngeLes. WarhoL wrote “Very few people on the (West) Coast knew or cared about contemporary art, and the press for my show wasn't too good. I always have to laugh, though, when I think of how Hollywood called Pop Art a put-on! HoLLywood?? I mean when you look at the kind of movies they were making then — those were supposed to be reaL???” David Hockney attended the wedding of his friends, fashion designer Ossie CLark and textiLe designer CeciLia BirtweLL and Mr and Mrs Clarke and Percy was painted shortLy afterwards. There is a minor anomaly; they had two cats and this is BLanche, not Percy. In a Long tradition of using symboLs in portraits, with “Percy” sitting on Clarks’s Lap, Hockney may be aLLuding to his friend’s tendency to have affairs with other men (the marriage onLy Lasted a few years). This is one of Hockney’s Large portraits begun in 1968 – first of imaginary couples then of friends. Some tabLoids argued Lucien Freud shouLd be imprisoned in the Tower for his portrait of Queen Elizabeth. More sober judgements have commented on the psychoLogicaL insight the artist achieved. We have come a long way from the propaganda ‘armada portrait’ of the first ELizabeth. .
Load more

Recommended publications
  • The Weeping Woman Judgment
    The Weeping Woman Judgment rehearsesPenetrative venturesomely. and inextinguishable Albrecht Len never haste took while any nebule monomaniacs Jeremy trokesdunks heraggravatingly, epaulets lustfully is Wittie and gingery rasingand lordlier preparatively. enough? Malfeasance and unsparing Rickey often everts some criminologists steamily or This painting is showing the outside of everyday life along open the emptiness that comes with everyday life or Last Judgement which is painted in the Sistine Chapel in Vatican City Last Judgement by Michelangelo depicts Jesus Christ's crucifixion and the pass coming of Christ. Full article Essays Interludes and Encounters La Llorona. Weeping Women Catholicismorg. La Llorona is a Hispanic folklore about a attorney who drowned her. Cubism Artists Characteristics & Facts Britannica. How did Picasso create the weeping woman? Cubism History HISTORY. As herself woman begins weeping on her left's feet Simon makes at taking two. Ought to missing the holy feeling of enable and differ with the aesthetic judgment 1 The Weeping Woman Tate Collection is an oil on canvas painted by Pablo. There flow forth the fair white brought the like whose whom Matui had only seen. Choose your favorite woman crying paintings from millions of available designs All woman. The Weeping Woman by ta bastian on Prezi Next. Judgment and Condemnation Catherine Parry BYU Speeches. The Weeping Woman by Pablo Picasso Facts about the Painting. From Judgment to Passion Devotion to Christ and what Virgin. Angel Of tap Last Judgment Abstract expressionism painting. Comic Judgment Best chat Show Girls Gone Geek. Eighth Station Jesus meets the case of Jerusalem who. Thou shalt not wrest the judgment of thy poor Ex 236 Ye shall allocate my judgments and shook mine ordinances Lev 14 Ye.
    [Show full text]
  • Weeping Woman, 1937 (Room 3)
    Tate Modern Artist and Society Boiler House (North) Level 2 West 11:00-11:45 Laurence Shafe 1 Artist and Society Rachel Whiteread, Demolished, 1996 (Room 1) ....................................................................... 5 Marwan Rechmaoui, Monument for Living, 2001-8 (Room 1) ................................................. 9 Piet Mondrian (1872-1944), Composition B (No.II) with Red, 1935 (Room 2) ........................ 13 Victor Pasmore, Abstract in White, Green, Black, Blue, Red, Grey and Pink, c. 1963 ............. 17 Hélio Oiticica, Metaesquema, 1958 (Room 2) ........................................................................ 21 Pablo Picasso, Weeping Woman, 1937 (Room 3) ................................................................... 25 Salvador Dalí, Autumnal Cannibalism, 1936 (Room 3) ........................................................... 29 André Fougeron, Martyred Spain, 1937 (Room 3) .................................................................. 33 David Alfaro Siqueiros, Cosmos and Disaster, 1936 (Room 3) ................................................ 37 Kaveh Golestan, Untitled (Prostitute series), 1975-77 ........................................................... 41 Lorna Simpson, Five Day Forecast, 1991 (not on display) ....................................................... 44 Joseph Beuys, Lightning with Stag in its Glare, 1958-85 (Room 7) .......................................... 48 Theaster Gates, Civil Tapestry 4, 2011 (Room 9) ...................................................................
    [Show full text]
  • Exhibition from March 27 to July 29 2018
    PRESS KIT GUERNICA Exhibition from March 27 to July 29 2018 En partenariat avec opixido 2 1. GUERNICA p. 3 1. 1 EXPERIENCING THE EXHIBITION p. 4 1.2 THE CURATORS p. 10 1.3 THE CATALOGUE OF THE EXHIBITION p. 11 1.4 CULTURAL PROGRAMMING RELATED TO THE EXHIBITION p. 27 1.5 MEDIATION WITH THE EXHIBITION p. 30 2. PARTNERSHIPS FOR THE EXHIBITION p. 34 2.1 MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA p. 34 2.2 LES ABATTOIRS MUSÉE DART MODERNE ET CONTEMPORAIN DE TOULOUSE p. 35 2.3 MEDIA PARTNERS p. 38 3. THE MUSÉE NATIONAL PICASSO-PARIS p. 42 3.1 FUTURE EXHIBITIONS AT THE MUSEUM p. 42 3.2 EXCEPTIONAL EVENTS OUTSIDE THE MUSEUM p. 43 3.3 THE MOST IMPORTANT COLLECTION OF PICASSOS WORKS p. 47 3.4 THE HÔTEL SALÉ: A STUNNING SETTING p. 49 4. GETTING YOUR BEARINGS p. 51 4.1 CHRONOLOGY p. 51 4.2 DATES AND KEY FIGURES p. 55 5. AVAILABLE VISUALS FOR THE PRESS p. 56 5.1 DISPOSED WORKS p. 56 5.2 VIEWS OF THE MUSEE NATIONAL PICASSO - PARIS p. 59 6. PRACTICAL INFORMATIONS p. 60 7. PRESS CONTACTS p. 61 1. GUERNICA 3 From March 27 2018 to July 29 2018 at the Musée national Picasso-Paris Following the 80th anniversary of the works creation, the Musée national Picasso-Paris in partnership with the Museo Nacional Centro de Arte Reina Sofía is dedicating an exhibition to the story of Guernica an exceptional painting by Pablo Picasso and probably one of the most famous artworks in the world.
    [Show full text]
  • Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
    A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor.
    [Show full text]
  • THE ARTISTIC COLLABORATION of PABLO PICASSO and JULIO GONZÁLEZ a Thesis Presented to the Faculty of the College
    IRON DIALOGUE: THE ARTISTIC COLLABORATION OF PABLO PICASSO AND JULIO GONZÁLEZ A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Fine Arts Jason Trimmer June 2005 © 2005 Jason Trimmer All Rights Reserved This thesis entitled IRON DIALOGUE: THE ARTISTIC COLLABORATION OF PABLO PICASSO AND JULIO GONZÁLEZ by Jason Trimmer has been approved for the School of Art and the College of Fine Arts by Joseph Lamb Associate Professor of Art History Raymond Tymas-Jones Dean of the College of Fine Arts TRIMMER, JASON A. M.F.A. June 2005. Art History Iron Dialogue: The Artistic Collaboration of Pablo Picasso and Julio González (69 pp.) Thesis Advisor: Joseph Lamb This paper analyzes the sculptural collaboration between Pablo Picasso and Julio González. It will examine each of the works born of the collaborative project at length, and discuss the major stylistic and thematic precursors to these works, both within each artist’s oeuvre and art history in general. During the collaboration, each artist’s unique sensibilities, skills, and styles merged to create just under a dozen works that have since resonated throughout the fields of art and art history. Also discussed will be the fact that these sculptures were created during the interwar period in Europe, which was a time of industrial, societal, and political upheaval. Each of these broad paradigm shifts is reflected within the works, and these works can, in fact, help to further our understanding of this tumultuous time period. While a good amount of important scholarship on the Picasso-González collaboration exists, much of it is spread across a number of years and a number of sources.
    [Show full text]
  • Masterpieces from the Musée National Picasso, Paris
    MEDIA RELEASE ‘If the progress of 20th-century art was to be defined by the achievements of a single individual, that individual would indisputably be Picasso.’ Edmund Capon PICASSO Masterpieces from the Musée National Picasso, Paris SYDNEY ONLY 12 November 2011 – 25 March 2012 ART GALLERY NSW ART GALLERY NSW 1922 1904 ‘I paint the way some people write their autobiography. The paintings, finished or not, are the pages from my diary…’ Pablo Picasso 1932 clockwise from top left: La Célestine (La Femme à la taie) (La Celestina (The woman with a cataract) 1904 Deux femmes courant sur la plage (La course) (Two women running on the beach (The race) 1922 Femmes à la toilette (Women at their toilette) 1956 La lecture (The reader) 1932 1956 ART GALLERY OF NEW SOUTH WALES / 5 ART GALLERY NSW 1906 1937 1950 clockwise from top left: Portrait de Dora Maar (Portrait of Dora Maar) 1937 Autoportrait (Self-portrait) 1906 La chèvre (The goat) 1950 Le baiser (The kiss) 1969 1969 ART GALLERY OF NEW SOUTH WALES / 2 PICASSO Masterpieces from the Musée National Picasso, Paris Picasso in front of Portrait de femme by Henri Rousseau 1932, photo by Brassaï ‘This is the great Picasso show to which ‘This exceptional exhibition covering we have often aspired but not yet achieved every aspect of Picasso’s multifaceted in Australia. Make the most of it because output and all the artistic media in which we will never have such a show again. he exercised his extraordinary creativity, Seven decades of Picasso’s relentless work, constitutes the foundation stone for a capturing every phase of his extraordinary groundbreaking partnership between the career, including masterpieces from his Blue, Musée National Picasso and the Art Gallery Rose, Expressionist, Cubist, Neoclassical and of New South Wales.’ Surrealist periods.
    [Show full text]
  • Downloaded Or to Consider How Many of These Themes Continue to Be of Importance in Projected for Classroom Use
    A Guide to the Exhibition for Teachers SPANISH PAINTING FROM EL GRECO TO PICASSO : TIME, TRUTH, AND HISTORY TABLE OF CONTENTS 4 A Note to Teachers 5 Exhibition Overview 6 Historical Overview 9 Bodegones 13 Landscape of Fire 17 Blood and Sand 21 The Domestic World 25 Weeping Women 29 Virgins and Mothers 33 Childhood 37 Knights and Ghosts 41 Ladies 45 Vocabulary 46 Chronological Listing of Artists in the Exhibition 50 Bibliography and Suggested Reading List 51 Credits and Acknowledgments A NOTE TO TEACHERS This guide for educators, which accompanies the exhibition Spanish Painting The content and design of these materials have a threefold purpose: from El Greco to Picasso: Time, Truth, and History , provides a glimpse into • To assist educators in developing a classroom unit focusing on Spanish painting the important themes and changing character of Spanish painting through the centuries as well as suggestions for how to integrate this rich history of aesthetic • To provide educators with the tools to conduct a self-guided museum visit innovation into the classroom. The presentation of works thematically (rather • To help educators prepare students for, and expand upon, themes and ideas than the more typical chronological arrangement) provides the opportunity to generated during their museum visit compare and contrast how artists from the same country, in various historical epochs, have dealt with similar subject matter. This guide concentrates on the This guide will be most useful in conjunction with a trip to the museum, exhibition themes most relevant to K–12 curriculum and provides examples of but can remain a valuable resource long after the exhibition has closed.
    [Show full text]
  • Pablo Picasso Was Born on 1881 and Was Born Into a Middle Class Catholic Family but Later Became Atheist
    Pablo Picasso was born on 1881 and was born into a middle class catholic family but later became atheist. Ever since Picasso was young he loved drawing his first words were “piz, piz” short for lapiz the Spanish word for pencil. At a young age he had formal drawing and oil panting training. A bit later his younger sister Lola had gotten a horrible sickness called diphtheria that took her away and traumatized Picasso. After her death Picasso’s family moved to Barcelona. Later at age 16 Picasso set off for the first time on his own. You can say his career started in 1894. At age 14 he made two art pieces one of them is called The First Communion this painting depicts his sister Lola and he also made The Portrait of Aunt Pepa. Later he set off to Paris in 1900. There he met a friend that taught him the language and its literature. They then shared an apartment. Picasso would sleep during the day and work at night. Much of his work had to be burned to keep the small room warm. Much time later Picasso began his Blue Period where he painted La Vie, The Old Guitarist, and The Blue Room which had another painting beneath the surface. Later came his Rose Period which consisted of The Garçon á la pipe (boy with a pipe), Les Demoiselles d'Avignon, and The Portrait of Gertrud Stein just to name a few. Picasso’s African period was influenced by artefacts brought to Paris. Then came his cubism period which he is most famous for where he made The Weeping Woman, Girl before a Mirror, and many others.
    [Show full text]
  • Picasso, the Prodigious Printmaker, Arrives at Mcclain Gallery in Houston
    Picasso, the Prodigious Printmaker, Arrives at McClain Gallery in Houston ARTSY SEP 16TH, 2016 7:06 PM Pablo Picasso Man with a Sheep, 1942 McClain Gallery Pablo Picasso (1881–1973) is among the rare artists whose fame transcends the art world. Upon hearing his name, you might think of such masterworks as his breakout Cubist painting of five fierce prostitutes, Les Demoiselles d’Avignon (1907), or Guernica (1937), his searing portrayal of the horrors of war (in this case, the Spanish Civil War). His name may also trigger thoughts of his well-documented womanizing, his fascination with African, Oceanic, and Iberian art, and his enormous influence on the course of 20th-century art, which continues to resonate today. Pablo Picasso Pablo Picasso The Frugal Meal, 1904 The Weeping Woman III, 1937 McClain Gallery McClain Gallery “Despite the frequent exposure and familiarity, Picasso’s oeuvre retains its power to startle and to seduce,” writes Gary Tinterow, a leading Picasso scholar and director of the Museum of Fine Arts, Houston. “[H]is inventiveness remains inexhaustible.” Tinterow’s affirmation highlights the foreword to a catalog accompanying “Imagining Backwards: Seven Decades of Picasso Master Prints,” a new retrospective of the artist’s prints at McClain Gallery in Houston. Picasso was, after all, a prodigious draftsman and printmaker. The wide-ranging show features more than 50 of his prints from 1905 to 1970—aquatints, lithographs, linocuts, and drypoints on an impressive array of paper. Pablo Picasso Pablo Picasso The Three Friends, 1923 Sculpture, Head of Marie Thérèse, 1933 McClain Gallery McClain Gallery Picasso drew and printed for various reasons: as an end in itself, to work out ideas for his paintings and sculptures, and to work through his own demons.
    [Show full text]
  • 'The Weeping Woman', by Pablo Picasso 1937 LINE
    ‘The Weeping Woman’, by Pablo Picasso 1937 LINE Broken lines literally cut up the face evoking imagery of shattered glass. • Thick outlines are used to make the face stand out from the background. • Wavy lines are used to create the texture of hair. COLOUR • Bright primary colours seem to highlight the woman’s pain and distress. • Yellow and especially green could symbolise sickness as green is often used to show that a person is unwell. • Picasso paints the woman’s face grey/white suggesting that colour has been drained from her face. SHAPE • Sharp, triangular shapes are used throughout the painting which creates a distorted and unnatural portrait. • Broken geometric shapes resemble shards of glass, emphasising the woman’s pain. TONE and FORM • Darker tones are used for the hair and coat which contrast with the lighter tones of the face creating visual impact. • There are shadows, mid-tones and highlights present in the painting which creates a strange three- dimensional form. TEXTURE • The texture of hair is created by the use of wavy lines. • Small dabs of paint are applied to the coat to create the texture of cotton or tweed. PATTERN • The repetition of wavy lines creates an irregular pattern in the hair. • The broken geometric shapes of the face contrast with the vertical pattern in the background. COMPOSITION • Two angles are seen at once which is typical of Cubism, an art movement that Picasso helped to create. • The woman is portrayed in a head and shoulder view suggesting that Picasso wants us to focus on her face.
    [Show full text]
  • Download a Large Print Guide
    Large Print Picasso and Paper In order to adhere to social distancing measures and to keep our staff and visitors safe, physical copies of the large print exhibition guides will no longer be available in the galleries. To help you make the most of your visit to the Royal Academy, our large print exhibition guides are available to download as PDFs. No app is required. They are freely available in each exhibition’s section of our website. Simply download the file to your device, then read – or follow the below instructions to listen to the introductions and labels as you go round. iOS devices • On your iPhone, go to “Settings”. Next, tap “Accessibility”. • Hit “Spoken Content”, then tap the toggle switch for “Speak Selection” to switch it on. • You can now customise the speech rate, default language and listen to an audio sample. • After that, go to your iOS PDF reader, and open a PDF file. • Highlight the text that you want to read and tap “Speak”. 36 Android devices • To use Google Text-to-speech on your Android device, go to “Settings”. Next, tap “Language & Input”. • Select “Text-to-speech output”, and then choose Google Text-to-speech Engine as your preferred engine. • You can now customise the speech rate, default language and listen to an audio sample. • To hear items read aloud, tap the Select to Speak icon, then click on a specific word, or drag your finger across the screen to select a longer passage of text, and tap the play button to begin the text-to-speech playback.
    [Show full text]
  • Es Asso 23 Ion Dialogues with Picasso Museo Picasso
    IMPORTANTE! Comprobar ancho del lomo Pablo Picasso DIALOGUES DIALOGUES 2020–2023 MUSEO PICASSO WITH PICASSO WITH PICASSO COLLECTION MÁLAGA — 2020–2023 COLLECTION ‘In the museums, for example, there are only pictures that have failed… Are you smiling? Think it over, and you will see whether or not I am right. Those which today we consider “masterpieces” are those which departed most from the rules laid down by the masters of the period. The best works are those which show most clearly the “stigma” of the artist who painted them.’ In collaboration with the Fundación Almine y Bernard Ruiz-Picasso para el Arte Pablo Picasso, Head of a Minotaur, Paris, 13 December 1937 [99, p. 247] 0807_001-456 ING#3.indd 2 27/7/20 10:03 DIALOGUES WITH PICASSO — 2020–2023 COLLECTION 0807_001-456 ING#3.indd 3 27/7/20 10:03 Contents P. 31_ Picasso: New Collection 2020–2023 Bernard Ruiz-Picasso P. 35_ Dialogues in the Labyrinth of the Still Untold Deed José Lebrero Stals P. 39_ Dialogues with Picasso Pepe Karmel P. 65_ Catalogue 0807_001-456 ING#3.indd 28 28/7/20 10:36 P. 81_ The Human Figure Commented Works in Picasso’s Drawings, Javier Cuevas del Barrio 1906–1913 Interim Substitute Professor, Universidad de Málaga Pepe Karmel Cécile Godefroy Associate Professor of Art History, New York University Art Historian and Curator, Paris P. 229_ Anna Jozefacka Independent scholar, New York Picasso’s Minotaurs Luise Mahler Michael FitzGerald Leonard A. Lauder Fellow, Leonard A. Lauder Research Professor of Fine Arts and Director of the Art History Center for Modern Art, The Metropolitan Museum, New York programme at Trinity College, Hartford P.
    [Show full text]