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A revealing investigation into Picasso's career-long fascination
with the written word Throughout his life, Pablo Picasso had close
friendships with writers and an abiding interest in the written
word. This groundbreaking book, which draws on the collections of
Yale University, traces the relationship that Picasso had with
literature and writing in his life and work. Beginning with the
artist's early associations with such writers as Gertrude Stein,
Guillaume Apollinaire, Max Jacob, and Pierre Reverdy, the book
continues until the postwar period, by which time Picasso had
become a worldwide celebrity. Distinguished authorities in art and
literature explore the theme of Picasso and language from
historical, linguistic, and visual perspectives and contextualize
Picasso's work within a rich literary framework. Presenting
fascinating archival materials and written in an accessible style,
Picasso and the Allure of Language is essential reading for anyone
interested in this great artist and the history of modernism.
Published in association with the Yale University Art Gallery
Exhibition Schedule: Yale University Art Gallery, New Haven
(January 27 - May 24, 2009) Nasher Museum of Art at Duke
University, Durham (August 20, 2009 - January 3, 2010)
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Vasily Kandinsky: Around the Circle (Hardcover)
Vasily Kandinsky; Edited by Tracey Bashkoff, Megan Fontanella; Text written by Mark Antliff, Patricia Leighten, …
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The years before World War I were a time of social and political
ferment in Europe, which profoundly affected the art world. A major
center of this creative tumult was Paris, where many avant-garde
artists sought to transform modern art through their engagement
with radical politics. In this provocative study of art and
anarchism in prewar France, Patricia Leighten argues that anarchist
aesthetics and a related politics of form played crucial roles in
the development of modern art, only to be suppressed by war fever
and then forgotten.
Leighten examines the circle of artists--Pablo Picasso, Juan Gris,
Frantisek Kupka, Maurice de Vlaminck, Kees Van Dongen, and
others--for whom anarchist politics drove the idea of avant-garde
art, exploring how their aesthetic choices negotiated the myriad
artistic languages operating in the decade before World War I.
Whether they worked on large-scale salon paintings, political
cartoons, or avant-garde abstractions, these artists, she shows,
were preoccupied with social criticism. Each sought an appropriate
subject, medium, style, and audience based on different conceptions
of how art influences society--and their choices constantly shifted
as they responded to the dilemmas posed by contradictory anarchist
ideas. According to anarchist theorists, art should expose the
follies and iniquities of the present to the masses, but it should
also be the untrammeled expression of the emancipated individual
and open a path to a new social order. Revealing how these ideas
generated some of modernism's most telling contradictions among the
prewar Parisian avant-garde, "The Liberation of Painting" restores
revolutionary activism to the broader history of modern art.
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