منابع مشابه
Amateur Means in Cubism? the Use of Ripolin® by Pablo Picasso
The introduction of non-artistic materials and techniques in Cubism is not a complete invention, contrary to what the traditional historiography of this artistic movement would want to make us think. Contemporary do-it-yourself practices – amateur handicraft – with which Georges Braque and Pablo Picasso had been in contact while living in the workingclass neighborhood of Montmartre, have encour...
متن کاملPablo Picasso (1881–1973). Guernica (1937). Oil on canvas, 350 cm x 782 cm
ABOUT THE COVER " I t isn't up to the painter to define the symbols, " said Pablo Picasso when asked to explain his celebrated mural, Guernica. " ….The public who look at the picture must interpret the symbols as they understand them. " Picasso himself did not know what the work would turn out to be when he was commissioned to paint the center-piece for the Spanish Pavilion of the 1937 World's ...
متن کاملJournalism, Caricature and Satirical Drawings in Early Picasso (1891–1895): The Awakening of Pablo Ruiz’s Critical Consciousness
In Pablo Picasso’s formative period in A Coruña (1891–1895), where he was born as an artist, the child and pre-adolescent who at that time signed himself as Pablo Ruiz, already knowing he was a genius, pursued an intense programme of creative activity while devoting himself to drawing and painting. Making use of his facility for reproducing the world around him in images, he also proved to be a...
متن کاملpoésie cubiste dans alcools de guillaume apollinaire et cubisme littéraire de pablo picasso
a lépoque classique, on affirmait que la peinture est une poésie muette, la poésie une peinture parlante. de fait, les relations entre littérature et peinture se sont développées tout au long des siècles dans une constante émulation. dans ce mémoire, nous explorons le dialogue fécond de ces deux arts au début du xxe siècle. lart et la poésie, à laube du xxe siècle, montrent la rupture avec le m...
15 صفحه اولPicasso the Muslim Or ,
ion in Byzantium and Its Exhibition,” Convivium 2, no. 2 (2015): 112–33. For a particularly problematic example, in which the analogical or comparative method often blurs into genealogical claims, see L. U. Marks, Enfoldment and Infinity: An Islamic Genealogy of New Media Art (Cambridge, MA, 2010). 9. For a rare exception, see J. Jakeman, “Abstract Art and Communication in ‘Mamluk’ Architecture...
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ژورنال
عنوان ژورنال: Apuntes del Cenes
سال: 2017
ISSN: 2256-5779,0120-3053
DOI: 10.19053/01203053.v33.n57.2014.7616