Pablo Picasso
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Paul Klee – the Abstract Dimension October 1, 2017 to January 21, 2018
Media release Paul Klee – The Abstract Dimension October 1, 2017 to January 21, 2018 From October 1, 2017, to January 21, 2018, the Fondation Beyeler will be presenting a major exhibition of the work of Paul Klee, one of the most important painters of the twentieth century. The exhibition undertakes the first-ever detailed exploration of Kleeʼs relationship to abstraction, one of the central achievements of modern art. Paul Klee was one of the many European artists who took up the challenge of abstraction. Throughout his oeuvre, from his early beginnings to his late period, we find examples of the renunciation of the figurative and the emergence of abstract pictorial worlds. Nature, architecture, music and written signs are the main recurring themes. The exhibition, comprising 110 works from twelve countries, brings this hitherto neglected aspect of Kleeʼs work into focus. The exhibition is organized as a retrospective, presenting the groups of works that illustrate the main stages in Kleeʼs development as a painter. It begins, in the first of the seven rooms, with Kleeʼs apprenticeship as a painter in Munich in the 1910s, followed by the celebrated journey to Tunisia in 1914, and continues through World War I, and the Bauhaus decade from 1921 to 1931, with the well- known “chessboard” pictures, the layered watercolors, and works that respond to the experiments of the 1930s with geometric abstraction. The next section features a selection of the pictures painted after Kleeʼs travels in Italy and Egypt in the later 1920s and early 1930s. Finally, the exhibition examines the “sign” pictures of Kleeʼs late period, and the prefiguration, in his conception of painting, of developments in the art of the postwar era. -
List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Self-portrait Date: 1918-1920 Medium: Graphite on watermarked laid paper (with LI countermark) Size: 32 x 21.5 cm Accession: n°00776 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object has a complete provenance for the years 1933-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Mother with a Child Sitting on her Lap Date: December 1947 Medium: Pastel and graphite on Arches-like vellum (with irregular pattern). Invitation card printed on the back Size: 13.8 x 10 cm Accession: n°11684 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; Estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object was made post-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Little Girl Date: December 1947 Medium: Pastel and graphite on Arches-like vellum. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. -
Picasso Au Lapin Agile Et Picasso at the Lapin Agile Patricia Belzil
Document generated on 09/26/2021 7:53 p.m. Jeu Revue de théâtre Deux Elvis pour deux solitudes Picasso au Lapin Agile et Picasso at the Lapin Agile Patricia Belzil Le théâtre à Québec Number 86 (1), 1998 URI: https://id.erudit.org/iderudit/25628ac See table of contents Publisher(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (print) 1923-2578 (digital) Explore this journal Cite this review Belzil, P. (1998). Review of [Deux Elvis pour deux solitudes : Picasso au Lapin Agile et Picasso at the Lapin Agile]. Jeu, (86), 31–34. Tous droits réservés © Cahiers de théâtre Jeu inc., 1998 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ PATRICIA BELZIL Deux Elvis pour deux solitudes quelques mois d'intervalle étaient présentées, en 1997, deux productions mon Atréalaises de la comédie de l'acteur américain Steve Martin : Picasso au Lapin Agile et Picasso at the Lapin Agile, pour satisfaire les deux solitudes. Il y avait là une occasion assez rare de comparer le regard que peuvent porter les Québécois franco phones et anglophones sur le Paris du début du siècle, et de voir que la langue et la culture, au-delà du partage d'un espace géopolitique, conditionnent notre vision du monde. -
FAMÍLIA DE SALTIMBANQUIS DE PICASSO Context Biogràfic, Artístic I Interpretatiu
FAMÍLIA DE SALTIMBANQUIS DE PICASSO Context biogràfic, artístic i interpretatiu Assumpció Cardona Iglésias TFG Tutora: Teresa M. Sala Història de l´Art. Universitat de Barcelona, 2018 INDEX INTRODUCCCIÓ: Objectius i metodologia .................................................................................... 4 Comentari de les fonts bibliogràfiques ......................................................................................... 6 I.CONTEXT BIOGRÀFIC I ARTÍSTIC . ETAPA ENTRE BARCELONA I PARÍS ................................... 13 1.1.Barcelona 1895-1904 ........................................................................................................ 13 1.2.Influència de Rusiñol ......................................................................................................... 14 1.3.Viatges a París ................................................................................................................... 16 1.4.París 1904-1905................................................................................................................. 17 II. FAMÍLIA DE SALTIMBANQUIS .................................................................................................. 19 2.1. Etapa rosa ......................................................................................................................... 19 2.1.1. Del blau al rosa .......................................................................................................... 19 2.1.2.Començament etapa rosa ......................................................................................... -
Design Competition Brief
Design Competition Brief The Museum of the 20th Century Berlin, June 2016 Publishing data Design competition brief compiled by: ARGE WBW-M20 Schindler Friede Architekten, Salomon Schindler a:dks mainz berlin, Marc Steinmetz On behalf of: Stiftung Preußischer Kulturbesitz (SPK) Von-der-Heydt-Straße 16-18 10785 Berlin Date / as of: 24/06/2016 Design Competition Brief The Museum of the 20th Century Part A Competition procedure ..............................................................................5 A.1 Occasion and objective .......................................................................................... 6 A.2 Parties involved in the procedure ........................................................................... 8 A.3 Competition procedure .......................................................................................... 9 A.4 Eligibility ............................................................................................................... 11 A.5 Jury, appraisers, preliminary review ...................................................................... 15 A.6 Competition documents ....................................................................................... 17 A.7 Submission requirements ...................................................................................... 18 A.8 Queries ................................................................................................................. 20 A.9 Submission of competition entries and preliminary review ................................. -
Pablo Picasso Study Guide
Self Portraits – 1907 and 1972 Pablo Picasso painter, sculptor, printmaker, ceramicist and theatre designer Born: October 25, 1881 in Malaga, Spain Died: April 8, 1973, in Mougins, France Fun Fact: Picasso is known as the inventor of constructed sculpture, co- founder of the Cubism movement and co-inventor of collage From his Blue Period The Old Guitarist, 1903 From his Rose Period Acrobat and Young Harlequin, 1905 From his Crystal (Cubism) Period Still Life with Compote and Glass, 1915 From his African Influence Period Three Women, 1908 Chicago Picasso Picasso refused payment for this 50-foot tall From his Neoclassical/ Surrealism Period sculpture he made for the city of Chicago in 1967 Pierrot, 1918 Book List: 100 Pablo Picassos By, Violet Lemay An Interview With Pablo Picasso By, Neil Cox Just Behave, Pablo Picasso! By, Jonah Winter Pablo Picasso By, Mike Venezia 13 Artists Children Should Know By, Angela Wenzel Websites: Pablo Picasso - The Picasso myth | Britannica Pablo Picasso - Wikipedia Picasso Quotes | Art Quotes by Pablo Picasso | Art Therapy (arttherapyblog.com) Activities: 1. Create a Picasso face. Use paint, magazine pictures, cut up construction paper or clay. 2. Make collage art. 3. Picasso color page - coloring-page.jpg (377×480) (artsycraftsymom.com) 4. Picasso’s Blue period was during a sad time in his life. His Rose Period was during a time filled with joy and love. His art reflects his moods in colors, subjects and style. Create your own Blue Period/ Rose Period paintings. Or find your own mood and paint according to that. 5. Watch this video about Picasso - (2) 10 Amazing Facts about Spanish Artist Pablo Picasso - YouTube Art Appreciation – Pablo Picasso Thank you for downloading the Pablo Picasso Study Guide. -
Giorgio De Chirico and Rafaello Giolli
345 GIORGIO DE CHIRICO AND RAFFAELLO GIOLLI: PAINTER AND CRITIC IN MILAN BETWEEN THE WARS AN UNPUBLISHED STORY Lorella Giudici Giorgio de Chirico and Rafaello Giolli: “one is a painter, the other a historian”,1 Giolli had pointed out to accentuate the diference, stung to the quick by statements (“just you try”2) and by the paintings that de Chirico had shown in Milan in early 1921, “pictures […] which”, the critic declared without mincing words, “are not to our taste”.3 Te artist had brought together 26 oils and 40 drawings, including juvenilia (1908- 1915) and his latest productions, for his frst solo show set up in the three small rooms of Galleria Arte,4 the basement of an electrical goods shop that Vincenzo Bucci5 more coherently and poetically rechristened the “hypogean gallery”6 and de Chirico, in a visionary manner, defned as “little underground Eden”.7 Over and above some examples of metaphysical painting, de Chirico had shown numerous copies of renaissance and classical works, mostly done at the Ufzi during his stays in Florence: a copy from Dosso Dossi and a head of Meleager (both since lost); Michelangelo’s Holy Family (“I spent six months on it, making sure to the extent of my abilities to render the aspect of Michelangelo’s work in its colour, its clear and dry impasto, in the complicated spirit of its lines and forms”8); a female fgure, in Giolli’s words “unscrupulously cut out of a Bronzino picture”,9 and a drawing with the head of Niobe, as well as his Beloved Young Lady, 1 R. -
The Real Lapin Agile
THE REAL LAPIN AGILE By Danielle Mages Amato Einstein and Picasso walk into The Sign at the entrance to The Lapin Agile a bar. It might be the oldest setup in the book. But instead of a punchline, Steve Martin delivers the complex and beautiful play Picasso at the Lapin Agile . He takes two iconic figures of early 20th century art and science—real men who changed the course of world history—and puts them in an entirely fictional situation. In Steve Martin’s imagination and on stages around the world, two great men who never met are finally given the opportunity to discourse and debate—and of course, drink. The bar into which Einstein and Picasso walk, however, is far from fictional. The Lapin Agile still exists: a humble, low-roofed cottage not far from the Place du Tertre in the Montmartre district of Paris. This modest building boasts a fascinating history, not only as a crucible of modern art but also as the inspiration for one of Picasso’s famous paintings. The bar was originally known as the Cabaret of Assassins, for the portraits of famous killers that hung on its walls. When illustrator André Gill took over in the 1870s, he painted a new sign for the establishment that showed a rabbit jumping out of a saucepan. That sign gave the cabaret its new name: the Lapin Agile, or the Agile Rabbit (The name was also a punning reference to “le lapin à Gill,” or Gill’s rabbit). 15 PLAYBILL Pable Picasso's painting Au Lapin Agile. -
PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso. -
Jeanmichel Basquiat: an Analysis of Nine Paintings
JeanMichel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary. -
Ar204 Art and Interpretation
AR204 ART AND INTERPRETATION Art and Aesthetics Module: Art Objects and Experience Fall 2019 Seminar Leader: Geoff Lehman Course Times: Wednesday, 9:00- 10:30 and Friday, 10:45-12:15 (9:00-12:15 for museum visits) Email: [email protected] Office Hours: Tuesdays, 14:00-16:00 Course Description Describing a painting, the art historian Leo Steinberg wrote: “The picture conducts itself the way a vital presence behaves. It creates an encounter.” In this course, we will encounter works of art to explore the specific dialogue each creates with a viewer and the range of interpretive possibilities it offers. More specifically, the course will examine various interpretive approaches to art, including formal analysis, iconography, social and historical contextualism, aestheticism, phenomenology, and psychoanalysis. Most importantly, we will engage interpretation in ways that are significant both within art historical discourse and in addressing larger questions of human experience and (self- )knowledge, considering the dialogue with the artwork in its affective (emotional) as well as its intellectual aspects. The course will be guided throughout by sustained discussion of a small number of individual artworks, with a focus on pictorial representation (painting, drawing, photography), although sculpture and installation art will also be considered. We will look at works from a range of different cultural traditions, and among the artists we will focus on are Xia Gui, Giorgione, Bruegel, Mirza Ali, Velázquez, Hokusai, Manet, Picasso, Man Ray, Martin, and Sherman. Readings will focus on texts in art history and theory but also include philosophical and psychoanalytic texts (Pater, Wölfflin, Freud, Merleau-Ponty, Barthes, Clark, and Krauss, among others).