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This book explores the work of those artists who attempted to keep
alive the expanded possibilities opened up by Cubism in Paris
between 1911 and 1914. This little community of artists refused to
accept that recording the war or producing propaganda was their
duty. Instead, they kept faith in their independence as individuals
as this war of machines threatened to rob every front-line soldier
of his humanity and to draw the globe into unprecedented conflict.
The vast majority of fit young Frenchmen were mobilized, so those
artists left behind in Paris were either foreign or too old or
unfit for combat. Pablo Picasso, then known as the inventor of
Cubism, remained a prominent figure, alongside his fellow Spaniards
Juan Gris and Maria Blanchard, the Mexican Diego Rivera, the
Italian Gino Severini, the Lithuanian sculptor Jacques Lipchitz and
the French painters Georges Braque, Henri Laurens, Fernand Leger
and Henri Matisse. One focus of this book is the sheer diversity of
the work produced by these artists; another is the move made by
most of them toward a more structured, architectural Cubism,
especially from 1917, which could be taken as reparation against
the destructive forces that seemed to have taken over the whole
world.
Genius. Anti-artist. Charlatan. Impostor! Since 1914 Marcel Duchamp
has been called all of these. No artist of the 20th century has
aroused more passion and controversy, nor exerted a greater
influence on art, the very nature of which Duchamp challenged and
redefined as concept rather than product by questioning its
traditionally privileged optical nature. At the same time, he never
ceased to be engaged, openly or secretly, in provocative activities
and works that transformed traditional artmaking procedures.
Written with the enthusiastic support of Duchamp's widow, this is
one of the most original and important books ever written on this
enigmatic artist, and challenges received ideas, misunderstanding
and misinformation. With 172 illustrations in colour
This lecture was given by Neil Cox of the University of Essex, one
of Britain's leading scholars of Cubism and Surrealism, and a
particular authority on Picasso, approaching the Spaniard's work
from intriguing angles. He concentrates on a single work, Picasso's
"Head" of 1913, and in doing so demonstrates how scrupulous focus
can open out challenging perspectives in the work of a great
master. Established following the 125th anniversary of the
foundation of the Chair of Fine Art at the University of Edinburgh
and named after the painter Sir John Watson Gordon, the "Watson
Gordon Lectures" typify the longstanding and positive collaboration
between the University of Edinburgh and the National Galleries of
Scotland: two partners in the Visual Arts Research Institute in
Edinburgh.
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