Pablo Picasso turned the ephemera of everyday life into pioneering cubist collage, and reinvented the paintings of old masters for the 20th century. Does this make him an artistic genius? Or was he simply an opportunist, a maverick who mercilessly raided the styles of others? This book presents a view of arguably the greatest artist of the century, by one of the foremost theorists of modern art. Rosalind E. Krauss suggests that if these questions are still necessary it is because modernism itself is a concept in which counterfeit and genuine are not opposites but, instead, two sides of the same condition. Revealing Picasso's collage as a combination of many different elements and ideas, she argues that no single component was thought of as being "authentic" or sanctioned by its author. Picasso's pastiche of other artists, however, is brilliantly brought into focus as an almost hidden element of cubism, rewritten in the bright, clean style of neoclassicism.
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Rosalind E. Krauss, University Professor at Columbia University and an editor and cofounder of October magazine, is the author of The Originality of the Avant-Garde and Other Modernist Myths (1985), The Optical Unconscious (1993), The Picasso Papers (1999), and Bachelors (1999), all published by the MIT Press, and coauthor (with Yve-Alain Bois) of Formless: A User's Guide (Zone Books, 1997).From Library Journal:
One of the country's foremost critics and theorists, Krauss here offers a unique, scholarly look at Picasso's numerous styles, with some of the most fascinating analysis examining the juncture between them. In the first section, the book's title becomes a play on the materials from which Picasso constructed his cubist works. Krauss deconstructs many individual pieces in terms of background and foreground and grants the newspapers the role of dialog among subjects. What is most interesting and unique about the analysis is her convincing argument that the introduction of color into the cubist palette was the impetus for the artist's abandoning that style. Later she discusses Picasso's frequent borrowings?from Ingress and Cezanne, Seurat and even photography?the idea of synthesis, and the existence of a work as unique hybrid. Throughout, she critiques the innumerable previous writings on Picasso, and in the book's final section she offers a deeper look at a few titles and the purpose they serve in the making of the Modern master. Not a biography for Picasso novices, this is nonetheless accessible to informed lay readers and deserves a place in larger public as well as all academic collections.?Douglas McClemont, New York
Copyright 1997 Reed Business Information, Inc.
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Descrizione libro Thames & Hudson Ltd, 1998. Hardcover. Condizione libro: New. Codice libro della libreria P110500237611
Descrizione libro Condizione libro: New. FAST shipping, FREE tracking, and GREAT customer service! We also offer International and EXPEDITED shipping options. Codice libro della libreria 3D7DSF000BUT
Descrizione libro Thames & Hudson Ltd. Hardcover. Condizione libro: New. 0500237611 New Condition. Codice libro della libreria NEW6.1173685
Descrizione libro Thames & Hudson Ltd, 1998. Hardcover. Condizione libro: New. book. Codice libro della libreria 500237611
Descrizione libro Thames & Hudson Ltd, 1998. Hardcover. Condizione libro: New. book. Codice libro della libreria 0500237611