|
Showing 1 - 7 of
7 matches in All Departments
|
Picasso and Paper (Paperback)
Ann Dumas, Emmanuelle Hincelin, Christopher Lloyd, Emilia Philippot, Bill Robinson, …
|
R471
Discovery Miles 4 710
|
Ships in 12 - 17 working days
|
Pablo Picasso's artistic output is astonishing in its ambition and
variety. This handsome publication examines a particular aspect of
his legendary capacity for invention: his imaginative and original
use of paper. He used it as a support for autonomous works,
including etchings, prints and drawings, as well as for his
papier-colle experiments of the 1910s and his revolutionary
three-dimensional 'constructions', made of cardboard, paper and
string. Sometimes, his use of paper was simply determined by
circumstance: in occupied Paris, where art supplies were hard to
come by, he ripped up paper tablecloths to make works of art. And,
of course, his works on paper comprise the preparatory stages of
some of his very greatest paintings, among them Les Demoiselles
d'Avignon (1907) and Guernica (1937). With reproductions of more
than 300 works of art and additional texts by Violette Andres,
Stephen Coppel, Emmanuelle Hincelin, Christopher Lloyd, Johan
Popelard and Claustre Rafart Planas, this sumptuous study reveals
the myriad ways in which Picasso's genius seized the potential of
paper at different stages throughout his career.
Pablo Picasso's artistic output is astonishing in its ambition and
variety. This handsome new publication examines a particular aspect
of his legendary capacity for invention: his imaginative and
original use of paper. He used it as a support for autonomous
works, including etchings, prints and drawings, as well as for his
papier-colle experiments of the 1910s and his revolutionary
three-dimensional 'constructions', made of cardboard, paper and
string. Sometimes, his use of paper was simply determined by
circumstance: in occupied Paris, where art supplies were hard to
come by, he ripped up paper tablecloths to make works of art. And,
of course, his works on paper comprise the preparatory stages of
some of his very greatest paintings, among them Les Demoiselles
d'Avignon (1907) and Guernica (1937). With reproductions of more
than 300 works of art and additional texts by Violette Andres,
Stephen Coppel, Emmanuelle Hincelin, Christopher Lloyd, Johan
Popelard and Claustre Rafart Planas, this sumptuous study reveals
the myriad ways in which Picasso's genius seized the potential of
paper at different stages throughout his career.
|
Calder-Picasso (Hardcover)
Mariah Coulibaly, Estrella de Diego, Simona Dvorakova, Claire Garnier, Donatien Grau, …
|
R1,519
R1,220
Discovery Miles 12 200
Save R299 (20%)
|
Ships in 15 - 20 working days
|
Borrowing its title from the French national motto, "Liberty,
Equality, and Fraternity" provides a vibrant picture of design in
France from the 1940s to today. A catalogue for a 2011 exhibition
presented by The Wolfsonian-Florida International University in
collaboration with M/M and Alexandra Midal, it investigates how
objects embody the ideas that have defined French public life for
more than two centuries. Featured objects include furniture,
industrial design and craft by some of the most celebrated French
designers of the present and recent past, including Roger Tallon,
Pierre Paulin, Philippe Starck and the Bouroullec Brothers.
"Liberty, Equality, and Fraternity" includes essays by Marianne
Lamonaca, Emilia Philippot and Alexandra Midal, each providing a
framework for understanding French design and its relationship to
national identity. A visual essay, organized in nine thematic
clusters, offers color images of each object in the exhibition.
Picasso began to spend his summer holidays in Antibes Juan-les-Pins
in 1920, returning most summers to the Cote d'Azur until the
outbreak of war. During those years, he produced paintings and
drawings of the villas where he stayed with his family, as well as
of bathers on the beach, and many studies for paintings that were
ultimately realized in his studio back in Paris. He returned again
after the war and showed his affinity for the region in
compositions that reflect its classical and mythological past. M.
Pablo's Holidays accompanies an exhibition of the same name at the
Musee Picasso in Antibes, and is composed of seven essays by
authoritative writers on the artist. The essays are enhanced by six
thematic sections that present the exhibited works. Distributed for
Editions Hazan, Paris Exhibition Schedule: Musee Picasso, Antibes
(09/28/18-01/15/19)
This beautifully illustrated book, the catalog for an exhibition on
view at the National Museum of Art of Catalonia in Barcelona and
coorganized with the Picasso Museum in Paris, explores important
affinities between Picasso and Romanesque art. Using two key
moments as starting points, Juan Jose Lahuerta and Emilia Philippot
first discuss the summer of 1906, when Picasso stayed in the
village of Gosol in the Catalan Pyrenees, and then turn to 1934, as
he visited the Romanesque art collections of what is today the
National Museum of Art of Catalonia. Picasso's discovery of the
Romanesque nurtured his interest in other "primitive" or
ethnographic art, later echoed in such decisive works as Les
Demoiselles d'Avignon. Importantly, while Lahuerta and Philippot
avoid any attempt to trace direct Romanesque influences on Picasso
as they note, his work consistently escapes such linear accounts
they do demonstrate that Picasso's interest in the twelfth-century
sculpture Virgin from Gosol, his lifelong fascination with the
theme of the crucifixion, and his study of the skull all reflect
elements that were also of major importance in Romanesque art and
architecture. What these shared features allow, Lahuerta and
Philippot ultimately argue, is not only a richer understanding of
Picasso's work, but also a rediscovering and reinvention of
Romanesque art in our contemporary moment, causing the medieval to
become refreshingly and paradoxically modern.
|
|