DOCSLIB.ORG

A SELECTION of NEW TITLES in the LIBRARY All These Documents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A SELECTION of NEW TITLES in the LIBRARY All These Documents Museu Picasso de Barcelona www.museupicasso.bcn.cat A SELECTION OF NEW TITLES IN THE LIBRARY All these documents can be consulted in the Library of the Museu Picasso. The service is free and open. A prior appointment is required, please use this form or telephone (+34) 93 256 30 31, at least one day in advance. Picasso... Picasso Cézanne Commissariat Bruno Ely París : Réunion des Musées Nationaux, 2009 277 p. ; 30 x 25 cm. – ISBN 978-2-7118-5600-8 Summary: I - Picasso regarde Cézanne, p. 24; De Cézanne à Picasso. Chez Vollard / Anne Roquebert, p. 31; " Le drame de l'home ". Le cézannisme de Picasso en 1906-1908 / Elizabeth Cowling, p. 42; Le parfum du marbre lointain de la Sainte-Victoire / Brigitte Leal, p. 55; Catalogue 1-33, p. 61; II - Picasso collectionne Cézanne, p. 92; " Cézanne !... vous pensez bien que j'ai regardé ses tableaux..." Picasso / Sylvie Patin, p. 96; L'exemple de Cézanne / Florian Rodari, p. 107; Catalogue 34-37, p. 113; III - Thèmes et formes partagés, p. 118; Les descendantes de Madame Cézanne à la jupe rayée / Jean Arrouye, p. 124; La lutte d'amour / Ludmila Virassamynaïken, p. 135; Catalogue 38-88, p. 147; IV - Picasso se rapproche de Cézanne, p. 190; Le Château de Picasso à Vauvenargues / Bruno Ely, p. 193; Ismaël se souvient. David Douglas Duncan témoigne / Bruno Ely, p. 204; Manière de... À propos d'un portrait de María López Picasso / Michèle Moutashar, p. 218; Contre Cézanne, tout contre / Denis Coutagne, p. 220; Catalogue 89-114, p. 229; Picasso, la période de Vauvenargues / Bruno Ely, p. 231; Biographies croisées de Paul Cézanne et de Pablo Picasso / Félicie Bouché, p. 266; Bibliographie sélective / Félicie Bouché, p. 274 Picasso, 1945-1949 : l'ère du renouveau Commissariat Jean-Louis Andral ; Harald Theil, Marilyn McCully Antibes : Musée Picasso (Antibes) : Snoeck, 2009 207 p. : il. col. ; 26 x 20 cm. – ISBN978-90-5349-747-0 Exhibition catalogue, Musée Picasso, Antibes, 29/03/2009-14/06/2009. Summary: L'ère du renouveau / Jean-Louis Andral, p. 9; Du contenant au contenu : les céramiques de Picasso et le renouveau de l'art / Harald Theil, p. 19; L'Enlèvement d'Europe : à la recherche de la troisième dimension dans les tableaux de 1946-1947 / Marilyn McCully, p. 31; Catalogue, p. 40; Les oeuvres, p. 193; Chronologie, p. 200; Bibliographie sélective, p. 202 Picasso mosqueteros Curated by John Richardson Nova York : Gagosian Gallery, 2009 319 p. : il. ; 32 cm. -- ISBN 978-0-8478-3299-6 Summary: Great Late Picasso / John Richardson, p. 15; Picasso and the objective / Jeff Koons, p. 37; Don Hilario Cuernajón, October 3, 1966 / Roberto Otero, p. 43; Paintings, p. 45; Prints. Compulsive Attraction: the late works on paper / Memory Holloway, p. 169; Peace and Love Picasso / Dakin Hart, p. 239; List of works, p. 272; Historical texts. Contemporaneous writing on Picasso's late work, p. 285; Picasso on his little terrace / Hélène Parmelin, p. 286; Pablo Picasso: 1969-1970 / Christian Zervos, p. 292; A year of Picasso, paintings: 1969 / Rafael Alberti, p. 295; Picasso beneath the etesian winds / René Char, p. 308; Picasso, the unending lightning / Rafael Alberti, p. 310 Museu Picasso de Barcelona Carrer Montcada 15-23 08003 Barcelona tel 93 256 30 00 fax 93 315 01 02 [email protected] Museu Picasso de Barcelona www.museupicasso.bcn.cat Picasso, challenging the Past Elizabeth Cowling, Neil Cox, Simonetta Fraquelli [et al.] Curated by Christopher Riopelle and Anne Robbins Londres : The National Gallery, 2009 176 p. : il. col. ; 28 x 23 cm. -- ISBN978-1-85709-451-0 Exhibition catalogue, National Gallery, London, 25/02/2009-7/06/2009; (exhibition presented previously in Grand Palais, París, 8/10/2008-2/02/2009). Summary: Competition and Collaboration: Picasso and the Old masters / Elizabeth Cowling, p. 11; Picasso 1895-1906: Each influence transitory, taking flight as soon as caught / Anne Robbins, p. 27; Something Else Entirely: Picasso and Cubism 1906-1922 / Christopher Riopelle, p. 55; Return to a Kind of Order / Christopher Riopelle, p. 69; The Sur-reality Effect in the 1930s / Neil Cox, p. 87; Picasso's Old Master period / Susan Grace Gallassi, p. 109; Looking at the Past to Defy the Present: Picasso's Paintings 1946-1973 / Simonetta Fraquelli, p. 141; Chronology, p. 166; Bibliography, p.170; Index, p. 172 Picasso and the allure of language Susan Greenberg Fisher with Mary Ann Caws, Jennifer R. Gross, Patricia Leighten [et al.] New Haven / Londres : Yale University Press, 2009 253 p. : il. col. ; 26 cm. -- ISBN 978-0-300-13546-6 Summary: Picasso and the allure of language / Susan Greenberg Fisher, p. 1; The meeting place of poets / Mary Ann Caws, p. 15; Catalogue entries, p. 25; The Surrealist impulse / Mary Ann Caws, p. 97; Catalogue entries, p. 104; Letters at Mourning / Mary Ann Caws, p. 141; Catalogue entries, p. 146; Writing Picasso / Mary Ann Caws, 203; Catalogue entries, p. 205; Index, p. 242 About our Museum... Repensar el Picasso Escola d’Art Eina Barcelona : Eina / Museu Picasso, 2009 95 p. : totes il. col. ; 28 cm (Monografies d'Eina ; 11) ISBN 978-84-691-9153-8 The Museu Picasso has carried out a joint project with Eina School Design, for the post-graduate course offered by Eina, Creative Illustration and Visual Communication Techniques. The book presents the creative works by students illustrating several aspects of daily life in the Museu Picasso. The Avantgarde... Ils ont regardé Matisse : une réception abstraite États-Unis Europe, 1948-1968 Sous la diréction de Éric de Chassey et Émilie Ovaere Montreuil : Musée départemental Matisse (Le Cateau Cambrésis) Gourcuff Gradenigo, 2009 263 p. : il. col. ; 28 x 24 cm. -- ISBN 978-2-35340-060-7 Exhibition catalogue, Musée Matisse, Le Cateau-Cambrésis, 15/03/2009- 14/06/2009 Museu Picasso de Barcelona Carrer Montcada 15-23 08003 Barcelona tel 93 256 30 00 fax 93 315 01 02 [email protected] Museu Picasso de Barcelona www.museupicasso.bcn.cat Max Ernst, Une semaine de bonté : les collages originales Werner Spies, Jürgen Pech, Juan Pérez de Ayala Madrid : Fundación Mapfre, 2009 402 p. : il. ; 31 cm. -- ISBN978-84-9844-150-5 Exhibition catalogue, Fundación Mapfre, Madrid, 11/02/2009-31/05/2009 Nueva York, el papel de las últimas vanguardias Elizabeth Finch, William Corbett [et al.] Segovia : Museo de Arte Contemporáneo Esteban Vicente, 2009 319 p. ; 23 x 25 cm. – ISBN 978-84-936004-4-0 Exhibition catalogue, Museo de Arte Contemporáneo Esteban Vicente, Segovia, 27/01/2009-4/05/2009 Pierre Bonnard : the Late Still Lifes and Interiors Edited by Dita Amorywith essays by Dita Amory, Rika Burnham, Jack Flam [et al.] Nova York : The Metropolitan Museum of Art / Yale University Press, 2009 195 p. ; 32 p. -- ISBN 978-0-300-14889-3 Exhibition catalogue, Pierre Bonnard: The Late Interiors, Metropolitan Museum of Art, New York, 27/01/2009- 19/04/2009 La Invención del siglo XX : Carl Einstein y las vanguardias Comisario, Uwe Fleckner Madrid : Museo Nacional Centro de Arte Reina Sofía, 2009 321 p. ; 27 x 21 cm. -- ISBN 978-848026-380-1 Exhibition catalogue, MNCARS, Madrid, 12/11/2008-16/02/2009 Chants exploratoires, Minotaure : la revue d'Albert Skira, 1933-1939 Véronique Yersin; assistée de Madeline Amsler París : Musée d'Art et d'Histoire. Cabinet des estampes / JRP, Ringier, 2007 111 p. : il. col. ; 32 x 25 cm. – ISBN 978-3-905829-94-5 Exhibition catalogue, Musée d'Art et d'Histoire, Génève, 30/11/2007-30/03/2008 Museu Picasso de Barcelona Carrer Montcada 15-23 08003 Barcelona tel 93 256 30 00 fax 93 315 01 02 [email protected] Museu Picasso de Barcelona www.museupicasso.bcn.cat Other related subjects... Il·luminacions : Catalunya visionària Comissària, Pilar Parcerisas Barcelona : Centre de Cultura Contemporània de Barcelona, 2009 335 p. : il. ; 24 x 17 cm ISBN 978-84-9803-327-4 Exhibition catalogue, CCCB, Barcelona, 17/02/2009-17/05/2009. Le Siècle du jazz : Art, cinéma, musique et photographie de Picasso à Basquiat Sous la direction de Daniel Soutif París : Musée du quai Branly / Skira Flammarion, 2009 446 p. : il. col. ; 28 x 24 x 4 cm. ISBN 978-2-0812-2424-7 Exhibition catalogue. Coproduced by Museo di Arte Moderna et Contemporanea di Trento e Rovereto (MART), Musée du quai Branly, Paris, and Centre de Cultura Contemporània, Barcelona Museu Picasso de Barcelona Carrer Montcada 15-23 08003 Barcelona tel 93 256 30 00 fax 93 315 01 02 [email protected].
Load more

Recommended publications
  • Michael Cowan Fitzgerald
    1 Michael C. FitzGerald Office: 113 Hallden Hall tel. 860-297-2503 [email protected] [email protected] (home) EDUCATION 1976-1987 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Ph.D., M.Phil., M.A. DISSERTATION: "Pablo Picasso's Monument to Guillaume Apollinaire: Surrealism and Monumental Sculpture in France, 1918-1959." 1984-1986 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF BUSINESS M.B.A. 1972-1976 STANFORD UNIVERSITY B.A. EMPLOYMENT TRINITY COLLEGE (Hartford, CT) DEPARTMENT OF FINE ARTS 2007- Professor 2OO2-5 Director, Art History Program (first appointment) 1994-2007 Associate Professor, Department of Fine Arts 1996-1998 Chairman 1988-1994 Assistant Professor 1986-1988 CHRISTIE, MANSON AND WOODS INTERNATIONAL (New York, NY) Specialist-in-charge of Drawings, Department of Impressionist and Modern Art 1981-1983 COLUMBIA UNIVERSITY (New York, NY) Preceptor,Department of Art History and Archaeology CONSULTANCY Research Director, Fundación Almine y Bernard Ruiz- Picasso para el Arte (FABA), 2020- AWARDS American Academy in Rome, April 2020 (deferred due to Corona Virus) Terra Foundation, 2006 2 National Endowment for the Arts, 2005-06 Faculty Research Leave, Trinity College, 2001-2002 3-Year Expense Grant, Trinity College, 2001-2004 Archives Grant, New York State Council of the Arts, 1999-2000 (with Whitney Museum of American Art) Fellowship, National Endowment for the Humanities, 1994-95 Faculty Research Grant, Trinity College, Summer 1993 Travel to Collections Grant, National Endowment for the Humanities, Summer 1991 Faculty Research Grant, Trinity College, Summer l989 Rudolf Wittkower Fellowship, Columbia University, 1980-81 Travel Grant, Columbia University, Summer l982; President's Fellowship, Columbia University, l977-78 CURRENT PROJECT Curator, Picasso and Classcial Traditions, This exhibition is a collaboration between the Museo de Bellas Artes de Sevilla and the Museo Picasso Málaga.
    [Show full text]
  • Pablo Picasso, Published by Christian Zervos, Which Places the Painter of the Demoiselles Davignon in the Context of His Own Work
    PRESS KIT PICASSO 1932 Exhibition 10 October 2017 to 11 February 2018 ANNÉE ÉROTIQUE En partenariat avec Exposition réalisée grâce au soutien de 2 PICASSO 1932 ANNÉE ÉROTIQUE From 10 October to the 11 February 2018 at Musée national Picasso-Paris The first exhibition dedicated to the work of an artist from January 1 to December 31, the exhibition Picasso 1932 will present essential masterpieces in Picassos career as Le Rêve (oil on canvas, private collection) and numerous archival documents that place the creations of this year in their context. This event, organized in partnership with the Tate Modern in London, invites the visitor to follow the production of a particularly rich year in a rigorously chronological journey. It will question the famous formula of the artist, according to which the work that is done is a way of keeping his journal? which implies the idea of a coincidence between life and creation. Among the milestones of this exceptional year are the series of bathers and the colorful portraits and compositions around the figure of Marie-Thérèse Walter, posing the question of his works relationship to surrealism. In parallel with these sensual and erotic works, the artist returns to the theme of the Crucifixion while Brassaï realizes in December a photographic reportage in his workshop of Boisgeloup. 1932 also saw the museification of Picassos work through the organization of retrospectives at the Galerie Georges Petit in Paris and at the Kunsthaus in Zurich, which exhibited the Spanish painter to the public and critics for the first time since 1911. The year also marked the publication of the first volume of the Catalog raisonné of the work of Pablo Picasso, published by Christian Zervos, which places the painter of the Demoiselles dAvignon in the context of his own work.
    [Show full text]
  • Museu Picasso Presents Picasso/Dalí, Dalí/Picasso, the First Exhibition to Explore the Relationship Between Both Artists
    Press Release THE MUSEU PICASSO PRESENTS PICASSO/DALÍ, DALÍ/PICASSO, THE FIRST EXHIBITION TO EXPLORE THE RELATIONSHIP BETWEEN BOTH ARTISTS Organised by the Museu Picasso with The Dalí Museum in Saint Petersburg, Florida, in collaboration with the Fundació Gala-Salvador Dalí in Figueres, this show examines the relationship between Pablo Picasso and Salvador Dalí—one of the most decisive crossroads in the history of 20th-century art Dalí felt admiration for Picasso dating back to before they had even met, when the young Dalí was making his first avant-garde forays in the early 1920’s The show includes works rarely seen in Europe, including Salvador Dalí’s Portrait of My Sister and Profanation of the Host, and 29 pieces by the two artists that will only be seen in Barcelona Barcelona, 19 March 2015. The Museu Picasso and The Dalí Museum in Saint Petersburg, Florida, have worked with the Fundació Gala-Salvador Dalí in Figueres and more than 25 art museums and private collectors worldwide to put on the first exhibition to analyse the relationship between Pablo Picasso and Salvador Dalí. The show sheds light on their highly productive relationship and reveals its high points and contradictions. “We didn’t set out to show that these two artists are in some way similar, but to help visitors get a better understanding of them,” says the show’s co-curator, William Jeffett, from The Dalí Museum. The idea is to let visitors see work by both artists in a fresh light by showing where their paths crossed. The exhibition reveals that after Dalí visited Picasso at his studio in Paris, his work underwent a tremendous experimental shift: he quickly went from merely “analysing” Picasso’s work to fashioning his own, fully Surrealist artistic language.
    [Show full text]
  • Pablo Picasso (Spanish, 1881 - 1973)
    Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics.
    [Show full text]
  • Teachers' Resource
    TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: ‘I WAS A PAINTER AND I BECAME PICASSO’ 3:THE ARTIST AS OUTSIDER: THE HARLEQUIN IN PICASSO’S EARLY WORK 4: PAINTING LIFE AND DEATH: PICASSO’S SECULAR ALTARPIECE 5: THE SECRET LIFE OF A PAINTING 6: PAINTING THE FIGURE: A CONTEMPORARY PRACTICE PERSPECTIVE 7: PICASSO’S BELLE ÉPOQUE: A SUBVERSIVE APPROACH TO STYLE AND SUBJECT 8: GLOSSARY 9: TEACHING RESOURCE CD TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 Compiled and produced by Sarah Green Design by Joff Whitten SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 Cover image: Pablo Picasso Child with a Dove, 1901 Oil on canvas 73 x 54 cm Private collection © Succession Picasso/DACS, London 2013 This page: Pablo Picasso Dwarf-Dancer, 1901 Oil on board 105 x 60 cm Museu Picasso, Barcelona (gasull Fotografia) © Succession Picasso/DACS, London 2013 WELCOME The Courtauld is a vibrant international centre for the study of the history of art and conservation and is also home to one of the finest small art museums in the world. The Public Programmes department runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars.
    [Show full text]
  • Picasso, Theatre and the Monument to Apollinaire
    PICASSO, THEATRE AND THE MONUMENT TO APOLLINAIRE John Finlay • Colloque Picasso Sculptures • 24 mars 2016 n his programme note for Parade (1917), Guil- Ilaume Apollinaire made special mention of “the fantastic constructions representing the gigantic and surprising figures of the Managers” (fig. 1). The poet reflected, “Picasso’s Cubist costumes and scenery bear tall superstructures knowingly created a conflict witness to the realism of his art. This realism—or Cub- between the vitality of dance and the immobility of ism, if you will—is the influence that has most stirred more grounded sculptures. As a practical and sym- the arts over the past ten years.”1 Apollinaire’s note bolic feature, the Managers anticipate certain aspects acknowledges a number of important things regard- of Picasso’s later sculpture. ing Picasso’s new theatrical venture. Most notable is The decors for the ballet (1924) were equally “sur- his recognition that the Managers are not costumes real”, contemporary forms of sculpture. Picasso made in the traditional sense, but three-dimensional in allowance for mobility in his set designs by enabling conception, and linked with his earlier Cubist work. the assembled stage props (even the stars) to move In describing the Managers as “construction”, Apol- in time to the music, the dancers manipulating them linaire was perhaps thinking of Picasso’s satirical Gui- like secateurs. For the Three Graces, Picasso created tar Player at a Café Table (fig. 2). The assemblage ran wickerwork constructions manipulated like puppets the gamut from a Cubist painting on a flat surface, by wires. The “practicables” were similar to telephone showing a harlequin with pasted paper arms, to a extension cables that expanded and contracted as real guitar suspended from strings, to a still life on a their heads bounced up and down.
    [Show full text]
  • Pablo Picasso Wrote No Book of Essays Or Any Treatise on Painting
    PICASSO IN CONVERSATION . Pablo Picasso wrote no book of essays or any treatise on painting. His thoughts, concerns, criticism and values are sufficiently clear in his work – most of which was in creative arts and occasionally in written pieces (poetry, plays, letters and dedications). For a summary of his thoughts we need therefore to consult the written records of those who knew him best, of the researchers who peronally met him, of the friends who loved him. Here is a selection of Picasso’s sayings expressed in conversations, meetings, interviews and collections in different bibliographic material. All of them may be looked up at the Barcelona Picasso Museum library (by prior appointment only). BARCELONA . “There is where it all began... There is where I understood how far I could reach” (In Pierre Daix, Picasso Créateur, Paris, Seuil, 1987, p. 103) UNDERSTANDING ART . Everyone wants to understand painting. Why not try to understand the songs of a bird? Why does one love the night, flowers, everything around one, without trying to understand them? But in the case of painting people have to understand. (In Christian Zervos, “Conversation avec Picasso” in Cahiers d’art, 7/10, Paris, 1935, p. 178) Why do you paint in such a way that your expression is so difficult for the public to understand? [Question from Jérôme Slecker]. I paint this way because here is the result of my thoughts. I have worked for years to get there, and if I take a step backwards, it would be an insult to the public as it is the result of my reflections.
    [Show full text]
  • All This Selected Bibliography Can Be Consulted in the Library of the Museu Picasso of Barcelona, by Prior Appointment Only
    BIBLIOGRAPHY . All this selected bibliography can be consulted in the Library of the Museu Picasso of Barcelona, by prior appointment only. Please send an e-mail to [email protected], or call the Library (+34) 93 256 30 31, or send a Fax (+34) 93 256 30 01. BIOGRAPHIES . APOLLINAIRE, Guillaume, PICASSO, Pablo Ruiz; CAIZERGUES, Pierre, KLEIN, Hélène (eds.), Correspondencia Picasso Apollinaire. Madrid, Visor, 2000 BERNADAC, Marie-Laure, DU BOUCHET, Paule, Picasso, le sage et le fou. Nova ed. Paris, Gallimard, 2007 BRASSAÏ, Conversaciones con Picasso. 2ª ed. Madrid [etc.], Turner / Fondo de Cultura Económica, 2002 CABANNE, Pierre, El siglo de Picasso. Madrid, Ministerio de Cultura, 1982. 2 v. COWLING, Elizabeth, Visiting Picasso: the notebooks and letters of Roland Penrose. London, Thames and Hudson, 2006 CRESPELLE, Jean-Paul, Picasso, sus mujeres, sus amigos, su obra. Barcelona, Taber, 1969 CRESPELLE, Jean-Paul, La vida cotidiana en el Montmartre de Picasso. Barcelona, Argos Vergara, 1983 DAIX, Pierre, Pablo Picasso. Paris, Tallandier, 2007 DAIX, Pierre, Picasso, Matisse. Neuchâtel, Ides et Calendes, 1996 DAIX, Pierre, Israël, Armand, Pablo Picasso, dossiers de la Préfecture de police 1901-1940. Paris / Moudon, Éditions des catalogues raisonnés / Acatos, 2003 DUNCAN, David Douglas, Viva Picasso: a Centennial Celebration 1881-1981. New York, The Viking Press, 1980 DUNCAN, David Douglas, Picasso y Jacqueline. Barcelona, Muchnik, 1988. [Picasso and Jacqueline. New York / London, WW Norton & Co., 1988] GILOT, Françoise, Picasso y Matisse, una amistad entre artistas. Barcelona, Destino, 1993 GILOT, Françoise; LAKE, Carlton, Vida con Picasso. Barcelona, Ediciones B, 1998 GUILLÉN, Mercedes, Picasso. Madrid, Alfaguara, 1973 HERRERA, Javier, Picasso, Madrid y el 98.
    [Show full text]
  • Carles Casagemas », Double Défi : Restaurer L’Épiderme/Connaître La Structure Interne
    « Carles Casagemas », double défi : restaurer l’épiderme/connaître la structure interne Reyes Jiménez • colloque Revoir Picasso • 25 mars 2015 En 1970, Picasso donne au Museu Picasso de Barcelona un Compte tenu de ce système additif de travail, et du fait millier d’œuvres de sa propriété que sa famille avait conser- que la réutilisation des toiles est une caractéristique réitérée vées pendant trois générations. Cette donation, composée de sa période de formation, une de nos activités prioritaires notamment de dessins et de peintures de sa période de for- consiste justement dans l’analyse et l’inventaire de toutes les mation, témoigne encore une fois de sa générosité envers la peintures susceptibles d’avoir des couches sous-jacentes. ville et place le Museu Picasso comme le centre de référence Cela nous permet de découvrir d’anciennes structures pic- des premières années de la trajectoire de l’artiste. turales cachées. De cette façon, on distingue entre les toiles Comme l’on pouvait s’y attendre et répondant aux exi- que Picasso a récupérées à partir d’autres toiles de plus gences d’un musée du XXIe siècle, notre plan directeur de grande taille2 et celles qu’il a réutilisées sans en modifier le conservation et de restauration est fondé sur deux axes d’ac- format, mais en y cachant des compositions antérieures. tions prioritaires : la conservation matérielle des œuvres et Cette méthodologie d’analyse des œuvres, qui nous four- la documentation exhaustive de la collection. nit une compréhension de leur structure physico-chimique, Il s’agit là d’un binôme indissoluble, car, pour documenter a ouvert de nouvelles possibilités de production de connais- la collection, nous travaillons sur la traçabilité des œuvres sances dans le musée et a permis d’articuler des expositions ainsi que sur la reconstitution de leur histoire matérielle.
    [Show full text]
  • Dossier Premsa Casagemas CAST.Indd
    Dossier de prensa Patrocinan Del 31 de octubre de 2014 al 22 de febrero de 2015 Organiza y produce: Museu Nacional d’Art de Catalunya Comisario: Eduard Vallès Sala de exposiciones temporales 2 Con el patrocinio de Agrolimen y Fundación Abertis Carles Casagemas. El tocador, c. 1900. Col·lecció privada Felip Massot. Con la exposición Carles Casagemas. El artista bajo el mito el Museu Na- cional d’Art de Catalunya reivindica la obra de un artista que murió con veinte años, justo en el albor del siglo xx. Amigo íntimo de Picasso e Isidre Nonell; su faceta de bohemio y suicida, la más conocida, ha difuminado a uno de los artistas más singulares que ha dado el arte catalán. 3 Pintor y escritor, Carles Casagemas i Coll (Barcelona, 1880 – París, 1901) fue uno de los gran- des amigos de juventud de Picasso, con quien compartía estudio en Barcelona y junto al que realizó su primer viaje a París. Casagemas adquirió una dimensión mítica a raíz de su trágica muerte, que condicionó la recepción de su obra, de manera que el personaje ha hecho som- bra al artista. La muestra que organiza el Museu Nacional d’Art de Catalunya reúne el grueso de su produc- ción hasta ahora conocida y descubre obras inéditas que amplían extraordinariamente el catálogo de su producción. Carles Casagemas aparece normalmente como uno de los artis- tas reconocidos del cambio de siglo pero nunca antes se había presentado monográfica- mente en un museo, con el único precedente de una exposición organizada en 1979 en la Galeria Daedalus de Barcelona, donde se exhibieron 13 de sus obras.
    [Show full text]
  • Lonely Planet Barcelona Ebook
    LONELY PLANET BARCELONA PDF, EPUB, EBOOK Lonely Planet,Regis St. Louis,Sally Davies,Andy Symington | 304 pages | 01 Dec 2014 | Lonely Planet Publications Ltd | 9781742208923 | English | Hawthorn, Victoria, Australia Lonely Planet Barcelona PDF Book Find the one that suits you. Barcelona is a dream for culture vultures and foodies, but entry fees and tapas bills can mount up. Featured videos. The Modernisme era lasted from the late 19th to early 20th century and was an artistic movement which affected everything from literature and art to architecture. View more. Barcelona is an enchanting seaside city with boundless culture, fabled architecture and a world-class drinking and dining scene. Lunch Pepa Tomate is a neighbourhood charmer, with outdoor tables on a peaceful square. It's worth paying a little extra for a guided tour or audio guide for a deeper understanding of Barcelona's most famous sight. The setting alone, in five contiguous medieval stone mansions, makes Barcelona's Museu Picasso unique and worth the queues. For a more authentic vibe, visit the modern Mercat Santa Caterina with its multi- coloured wavy roof or the grand Mercat de Sant Antoni , which reopened in , after nine years of renovations. Check out our favourite spots. The city boasts a five-kilometre stretch of coastline, home to nine different beaches. Even in winter, it can be sunny enough to sit outside and enjoy a meal at one of the seaside restaurants, while summer offers everything from sunbathing and swimming to water sports. Stroll through Barceloneta, stopping for a peek inside the Mercat de la Barceloneta and for pastries at Baluard.
    [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]