Picasso the Muslim Or ,
نویسنده
چکیده
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” (PhD diss., University of Oxford, 1993). Flood: Picasso the Muslim 43
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