This book aims to show how Picasso returned to a Barcelona in 1917 after many years in Paris, where he encountered a rich cultural scene, a city unlike the one he had left. This book intends to examine the nature of Picasso's relationships with the local artists on his return to Barcelona, the tourist outings he went on, the things he did in his spare time, and his artistic output during this period, which was particularly prolific. In this interlude in Barcelona, far from the oppressive climate in Paris, a city then at war, and from his Cubist circles, Picasso was able to work freely, searching for new forms of expression. This was a moment of stylistic transition in Picasso's uvre that would continue in the years immediately afterwards, when classical sources alternated totally freely with the achievements of Cubism.

Previous studies of William Carlos Williams have tended to look only for the literary echoes in his verse. According to Bram Dijkstra, the new movements in the visual arts during the 1920s affected Williams's work as much as, if not more than, the new writing of the period. Dijkstra catches the excitement of this period of revolutionary art, reveals the interactions between writers and painters, and shows in particular the specific and general impact this world had on Williams's early writings.

In Picasso's Demoiselles, eminent art historian Suzanne Preston Blier uncovers the previously unknown history of Pablo Picasso's Les Demoiselles d'Avignon, one of the twentieth century's most important, celebrated, and studied paintings. Drawing on her expertise in African art and newly discovered sources, Blier reads the painting not as a simple bordello scene but as Picasso's interpretation of the diversity of representations of women from around the world that he encountered in photographs and sculptures. These representations are central to understanding the painting's creation and help identify the demoiselles as global figures, mothers, grandmothers, lovers, and sisters, as well as part of the colonial world Picasso inhabited. Simply put, Blier fundamentally transforms what we know about this revolutionary and iconic work.

Played out against the backdrop of Paris before the start of the First World War, Tarr tells the blackly comic story of the lives and loves of two artists--the English enfant terrible Frederick Tarr, and the middle-aged German Otto Kreisler, a failed painter who finds himself in a widening spiral of militaristic self-destruction. When both become interested in the same two women--Bertha Lunken, a conventional German, and Anastasya Vasek, the ultra-modern international devotee of "swagger sex"--Wyndham Lewis sets the stage for a scathing satire of national and social pretensions, the fraught relationship between men and women, and the incompatibilities of art and life. Scott W. Klein's introduction places the novel in the context of social satire and the avant-garde, especially the artistic developments of the 1910s--including Cubism, Futurism, and Lewis's own movement, Vorticism--and explores the links between Tarr and other Modernist masterpieces. The book also features Lewis's Preface to the 1918 American edition, comprehensive notes, a glossary of foreign words and phrases, and a map of Paris.
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The starting point of this exciting new exploration of Picasso is not his life but his work, which is revealed as a series of interventions in the troubled history of early twentieth-century Europe. Christopher Green shows how these interventions are remarkable for the force with which they confront issues that remain vital and important for us today: race, cultural difference, modernity, sexuality and the discontents of civilization. The framework for Green's exploration is simple, yet enormously rich in its implications: the compulsion found in Picasso's work simultaneously to build architectures and to release himself from them. Architecture is used by Green to refer not merely to pictorial or sculptural structure, but to the architecture of knowledge and society: the structures of tradition, of racial, social and cultural distinction, of logic and of technology. He not only develops new ways of seeing the oscillation between order and disorder in Picasso's work, but moves outwards from it to reveal how it confronted and challenged the architectures of orthodoxy.

Guillaume Apollinaire's only book on art, The Cubist Painters, was first published in 1913. This essential text in twentieth-century art presents the poet and critic's aesthetic meditations on nine painters: Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Marie Laurencin, Juan Gris, Fernand Leger, Francis Picabia, and Marcel Duchamp. As Picasso's closest friend and Marie Laurencin's lover, Apollinaire witnessed the development of Cubism firsthand. This collection of essays and reviews, written between 1905 and 1912, is a milestone in the history of art criticism, valued today as both a work of reference and a classic example of modernist creative writing. In addition to a faithful and fluid translation of Apollinaire's text, Peter Read provides his own scholarly analysis of its importance in the history of modernism. He examines Apollinaire's art criticism, his relationship to the Cubist movement, and, more specifically, the genesis of Cubist Painters through its various revisions and proofs. Supported by all forty-five plates from the original edition, this new volume brings Apollinaire's vitality and vision to life for a new generation.

The complex facets of Cubism remain relevant subjects in art history today, a century after Pablo Picasso and Georges Braque developed the revolutionary style. This impressive collection of essays by international experts presents new lines of inquiry, including novel readings of individual objects or groups of works through close visual, material, and archival analysis; detailed studies of how Cubism related to intellectual and political movements of the early 20th century; and accounts of crucial moments in the reception of Cubism by curators, artists, and critics. Generous illustrations of paintings, drawings, and sculptures, some familiar but others virtually unknown, support this wide range of approaches to the pioneering works of Picasso, Braque, Fernand Leger, Juan Gris, and others. Distributed for the National Gallery of Art, Center for Advanced Study in the Visual Arts

Following Pablo Picasso's death in 1973, Andre Malraux was summoned by Jacqueline Picasso, the artist's widow, to her home at Mougins in the South of France. There, surrounded by Picasso's powerful last paintings "painted face to face with death," and his art collection destined for the Louvre, Malraux recollected Picasso's rebellious life and the metamorphosis of his art. In "Picasso's Mask," Malraux's memories, at once personal and historical, evoke Picasso as a private man and as a legendary artistic genius. For over half a century, Andre Malraux (1901-1976) was intimately involved in French intellectual life, as philosopher, novelist, soldier, statesman, and secretary for cultural affairs. Malraux knew Picasso well, and here recollects a number of his conversations with the painter. In rich, evocative, and memory-filled prose, he has written an inspiring and moving reminiscence. "Picasso's Mask" is one of the most profound works in Malraux's remarkable oeuvre.