Product Description
Nearly a decade after its initial publication, Picasso: The Monograph 1881-1973 is back in print, updated and redesigned in a more user-friendly format. Poligrafa's brand new edition of this classic volume offers more than 1,200 newly scanned reproductions, spanning Picasso's entire career and illustrating his breathtaking range of artistic expression, including paintings, drawings, lithographs, ceramics and sculpture. Elegantly translated from the original French, the monograph weaves biographical details with thorough elucidations of the artist's work into a concise and seamless narrative. All three contributors are highly regarded in Picasso scholarship: Brigitte Leal and Marie-Laure Bernadac, both former curators of the Musee Picasso in Paris, are now respectively curators of the Centre Pompidou and the Louvre Museum, while Christine Piot co-authored the catalogue raisonne of Picasso's sculpture. Leal covers Picasso's formative years through 1916, including his co-invention of Cubism with Georges Braque. Piot focuses on the artist's glory years from 1917 through 1952, and Bernadac discusses the vigor of Picasso's later years, from 1953 until his death in 1973. With clearly organized visual sources, acknowledgements of leading art historians' interpretations and quotes from Picasso's contemporaries, this book remains unsurpassed as the definitive Picasso monograph for students and art lovers alike. ... Read more

Product Description
"Miller is an excellent historian...and a fine biographer.... [His] artful arrangement of his conclusions...makes the book something of an intellectual thriller."-- New York Times Book Review.

The most important scientist of the twentieth century and the most important artist had their periods of greatest creativity almost simultaneously and in remarkably similar circumstances.

This fascinating parallel biography of Albert Einstein and Pablo Picasso as young men examines their greatest creations--Picasso's Les Demoiselles d'Avignon and Einstein's special theory of relativity. Miller shows how these breakthroughs arose not only from within their respective fields but from larger currents in the intellectual culture of the times. Ultimately, Miller shows how Einstein and Picasso, in a deep and important sense, were both working on the same problem. ... Read more

Customer Reviews (12)

A NYT Review on the web, Used in College Course, and Picasso thoughts
[...]

I came to this book via interest in Picasso, and found my understanding of cubism, and its relation to the science of the day, were well rewarded by reading this book.

I must assume no other book on Picasso has such a wealth of Picasso biographical detail as it relates to the field of science - the artists close to Picasso were indeed attempting to define in art terms what they knew were the currents of early 20th Century European scientific development, and how that science related to their visual multi-dimensional theories.

The book is written by a true authority in the field, and a fine writer of deep insight in associating artistic and scientific impulse. Quotes and ideas shine thoughout. And I haven't even talked about Einstein! Or how they relate in quite revealing ways. That's what Doc. Miller has done in this singular book.

Fascinating Comparisons
This fascinating little book gives intriguing comparisons between art and science.Whether you are an artist or an engineer, you will gain insight into design with this book.I'd like more pictures, but there are plenty to help you visualize the ideas.Interesting stuff.

Don't Be Scared
Mr.Miller is a phenomenal thinker!His observations are compelling and in-depth. Although you may think the subject matter is intimidating, he explains is all with incredible clarity.This book taught me a great deal - the information was accessable to the "non-scientist", and it really changed the way I look at the world. THANK YOU ARTHUR MILLER BRAVO!!!

Deeply inspiring for an artist
After reading several books and essays on Picasso in the context of modern art movements, it was refreshing to read such a thoughtful and detailed review of Picasso's achievements from the perspective of how science, and the scientific achievements of his time, affected him and drove him to seek 'new dimensions' in his art. I admit as an art enthusiast I took greater interest in the Picasso chapters than the Einstein chapters, but was truly impressed by Miller's ability to dive so deeply into each of these worlds.

Going over Boundaries between Disciplines
What factors can be motivations of a genius's reformative work? Is it possible that the same notions affect geniuses in science and art? What is the daily life of geniuses? What processes are going on when a genius does a monumental work? We often have such questions as above. Arthur I. Miller, Professor of History and Philosophy of Science at University College London, wrote a wonderful book to answer all of those questions and to tell us more about creative activity by the example of the two giants of the twentieth century, Albert Einstein and Pablo Picasso.

This dual biography centers on the special relativity theory discovered by Einstein in 1905 and the Cubism painting "Les Demoiselles d'Avignon" produced by Picasso in 1907. In the first chapter, the author mentions that Poincare's book "La Science et l'hypothese" gave a spur to both of the two geniuses and led them to explore new notions of space and time. Tracing their respective lives in later chapters, the author clarifies how both men sought representations of nature that transcend those of classical thought and reach beyond appearances. The reader would be convinced of the fact that the effect of Poincare's book is not a superficial similarity between the works of Einstein and Picasso but a common denominator deeply rooted in the culture and science of the early twentieth century.

In the last chapter the author insists that at the creative moment boundaries between disciplines dissolve. Namely, aesthetics becomes paramount also in science; on the other hand, artists solve problems just like scientists. So, if you are a scientist, you would find direct interest in the chapters on Einstein and also find it profitable to read the chapters on Picasso; and if you are an artist, the reverse would be true. Laypersons would also get a lot of stimuli to a productive life from this book. ... Read more

Product Description

Customer Reviews (2)

CATERING TO THE GROUNDLINGS
"PIcasso never took much interest in Degas' paintings. He preferred the sculptures and above all the monotypes, some of which Vollard had used to illustrate LA MAISON TELLIER, Maupassant's novel about a brothel's holiday outing."
John Richardson, A LIFE OF PICASSO: THE TRIUMPHANT YEARS, 1917-1932
This exhibition and catalogue is based on a puerile interpretation of the nature and character of esthetic influence in the visual arts. Both center on a one-to-one comparison of paintings, drawings, sculpture, and prints by Picasso and Degas, and the notion that Picasso drew directly from the subjects by Degas in a wide assortment of his own works. It is a total distortion of the uses of the past employed in all forms of the arts, and in particular almost all of the works in the PICASSO LOOKS AT DEGAS exhibition. If one wanted to pursue this superficial endeavor a better choice could have been made with Toulouse Lautrec. For example, Lautrec's May Milton poster is on the wall in Picasso's BLUE ROOM (1901) and the composition of his portrait of JUNYIR I VIDAL (1903) is much closer to Lautrec's besotted friends depicted in A LA MIE (1891). Further, Gary Tinterow, the Metropolitan curator of Modern Art, pointed out that it was practically impossible that Picasso could have seen Degas' WOMAN IRONING (1876-87) when he painted the same theme in 1904. The Degas was in a private collection that a young, scruffy, penniless Spaniard could never have gained access to during his stay in Paris. And all should look at Lautrec's witty and familiar assessments in his numerous paintings, oils on cardboard, lithographs, and drawings of Parisian whores before leaping to the conclusion that this is another major link to Degas.
The Clark owns a cast of Degas' LITTLE DANCER AGED FOURTEEN (1879-81), which is one of the most unique works of 19th century sculpture. Earlier Kendall mounted an entire exhibit of Degas' drawings and sculptural studies for the LITTLE DANCER, which unfortunately was centered on his notion that the fabric tutu was wrong; replacing it with one that was longer and more full. In PICASSO LOOKS AT DEGAS the comparison of Picasso's STANDING NUDE (1907), a cubist figure with a baboon snout and hatchet knees, is nothing short of delusional. In a feat of loony, Looking Glass logic Kendall bases his argument on the fact that both the height of the Degas sculpture and the height of the figure in the Picasso painting are the same.
Richard Kendall and Elizabeth Cowling should be reminded that rather than aping Cezanne's card players, bathers, and still lifes, Picasso and Braque invented Cubism, and years later PIcasso would buy Cezanne's mountain. His assemblages and sculpture made from an assortment of materials strikes much closer to Degas' LITTLE DANCER, but Kendall and Cowling interpret influence as mimicry.
A truly remarkable exhibition could have been organized focusing on Picasso's hundreds of references and variations on the to the art of the past; which ranged from the Greeks and Romans, classical and mythological subjects, Cranach, Velazquez, Rembrandt, or the dozens of major canvases based on Delacroix's ALGERIAN WOMEN.
The exhibition ends with Degas whorehouse monotypes and an assortment of Picasso's 347 Suite etchings based on the same carnal themes. Three of the figures are identified as Degas, who looks similar to Picasso's father. But again, they have chosen to distort the facts:
"....Picasso coveted a small, sexually explicit [Degas] monotype...which I had acquired. He was so captivated by it that I [John Richardson] gave it to him; he went on to buy several more....which would inspire a series of brilliant brothel scenes."
"This voyeur is a curious hybrid: Picasso's painter father, who was addicted to whores, in the guise of Degas." Richardson, vol. III, page 455
The third volume of of Richardson's LIFE OF PICASSO was published in 2007. Without doubt the curators of PICASSO LOOKS AT DEGAS were familiar with this authoritative biography based on the author's close friendship with the artist. Apparently Kendall and Cowling chose to ignore it.
In the end, this catalogue is not an erudite probing of Picasso and Degas; it is a curatorial pissing contest sponsored by a museum that seems to gauge the importance and success of their annual summer blockbusters on how many cars are forced to park on the road rather than on the quality of the scholarship in their publications.
PICASSO LOOKS AT DEGAS should be placed next to David Hockney's preposterously silly SECRET KNOWLEDGE, then both put on a shelf with bad fiction such as the DI VINCI CODE and LUST FOR LIFE.
Rather they purchasing this tripe, one would do far better purchasing PICASSO AT THE METROPOLITAN by Gary Tinterow, and/or THE MYSTERY OF PICASSO (1955) which shows him doing many drawings and paintings on the backside of a frosted glass. It was directed by the legendary Clouzot. For a brilliant examination of Picasso's work and life LOVE, MAGIC, AND DEATH by John Richardson (the scholar mentioned above) which is also available on a CD. All are listed on Amazon.

you must see this!
If you are at all curious about Degas or Picasso.... or even better.... a look at how artists are inspired by other artists,you must look at "Picasso Looks at Degas". It's like being at the museum show but even better because you can look whenever you want, take the time to read the most informative catalog. A bargain, much cheaper than the flight to the Clark Art Institute! ... Read more

Product Description
This publication features new texts by esteemed Picasso biographer John Richardson, contemporary artist Jeff Koons, and scholars Dakin Hart and Memory Holloway. Additionally, the catalogue includes an imagined conversation between Roberto Otero and Picasso, an essay by Hélène Parmelin, and all texts originally included in the four catalogues from Picasso’s Avignon exhibitions in 1970 and 1973, written by Christian Zervos, Rafael Alberti, and René Char. ... Read more

Customer Reviews (3)

If You Love Late Picasso
If you like late Picasso, then you're going to love this book. I do. What I liked best about this book was that it published numerous color works I had never seen before -- and that is hard to do, because I am one major late Picasso aficionado. And these are not the best works or extremely well known works. These are the ones Picasso would paint in a day -- or much less. With that, you see the raw artistry of these paintings. Do they all rock your world? No. But together, you feel the intensity, fever, and urgency of creation that Picasso knew in his last days, as he felt death slowly twisting and suffocating his near century old heart. Great book!

excellent service
The price and the product arrived quickly and in excellent condition.I am happy to have the books.MJ

Was late Picasso really a joke? Maybe not so...
This is a hefty volume which accompanies the museum-quality exhibition of seldom-seen works from Picasso's late phase (1967-1972)held at the Gagosian Gallery in NYC until June 2009. It starts with an interesting essay by Picasso's best biographer, John Richardson (who curated the exhibition), whose aim is to show how important this late phase is in the context of the artist's entire career. One may not agree with Richardson's conclusion that the late works constitute the apex of Picasso's oeuvre insofar as they were painted at a time when he was completely free of any constraint and able to express his feelings and convey his message in a bolder way than ever before, yet this essay undoubtedly sheds new light on this oft-derided body of works.

Richardson's text is followed by a short article by Jeff Koons who delivers his own views on the Spanish master.

These introductory essays are followed by a trove of photographs showing the ageing Picasso in his surroundings at La Californie and La Croix de Vie in Mougins, in the South of France (his last two homes). These photographs are mixed with illustrations of old masters' works (Hals, Goya, Rembrandt, etc) which, supposedly inspired the series of the Musketeers. These latter illustrations are unfortunately of a very bad quality (often blurred and murky, especially the Rembrandts) and some legends need editing: the notorious "Man with the Golden Helmet" is, for example, given as a Rembrandt whereas it is no longer considered a work by his hand (even though it is still a great painting...).

Then come the many full-page colored illustrations of Picasso's Musketeers which are of a much better quality and even allow a glimpse into Picasso's brushwork technique.

On the whole, a valuable -though far from perfect- publication that gives new insight on the greatest painter of the XXth century. ... Read more

Product Description
The career of the greatest painter of the twentieth century was played out in the shadow of Eros -- and of Thanatos.At the age of eight, Picasso's first drawings already displayed a precocious interest in the female form, and in the days leading up to his death he was still working obsessively on sketches of the female sex. ... Read more

Customer Reviews (2)

Investigating Picasso's Obsessions with Erotica
The fine book from Prestel serves as a significant addition to the burgeoning library on Pablo Picasso, the most popular 20th Century artist in the world.While much of his output (and his output was gargantuan!) is secondary to his acknowledged masterpieces, when grouped as in the manner in which Jean Clair, Director of the Muse Picasso in Paris has done for the purposes of a traveling exhibition, the ingenuity as well as the personal psychosocial issues of the artist become far more focused.

That Picasso was a slave to Eros is well known: that he lived a second life in the bordellos of Barcelona is less well known until now!The book abounds in over 450 images in color and in black and white of his voyeuristic tendencies and his celebration of the female form.These sketches and finished works span his early periods, his cubism, and his later life return to representation.They are a joy to view and review in this beautifully presented book.

Accompanying the images are informative and enjoyably readable essays by Jean Clair himself, Annie Le Brun, Marie-Noelle Delorme, Pascal Quignard, Jean-Jacques Lebel, Patrick Roegiers, and Malen Gual.PICASSO EROTIQUE is one of those art books that actually merits careful reading s well as being entertained by the wonderful visuals.Highly recommended.Grady Harp, October 05

Picasso as life force
In their Preface to this remarkable book (published to accompany exhibitions in Paris, Montreal, and Barcelona) Guy Cogeval, Jean Clair, and Maria Teresa Ocana assert that all of the art of Pablo Picasso - whether visual or literary - was "guided by a specifically Spanish eroticism, a medley of sensuality and tenderness, of scatology and gluttony." Curator and editor Clair has assembled a group of erudite and sometimes thrilling essayists, and 350 or so plates of Picasso's most obviously erotic topics, whether sketches, paintings, sculpture - from his entire art-producing life (beginning at age 9!). Mythology, religion, linguistics, classical influences, and Picasso's upbringing and circumstances and adult life (among many other things)are all explored in the dozen essays that make this book such great reading.

Clair's own "The School of Darkness" is a heady and passionate appreciation of Picasso. He contributes right off to the decades-old debate regarding Picasso's view and treatment of women. He defends the artist and the man,rejecting portrayals of Picasso as " the ogre, the dark demon, the wife-eating Minotaur," quoting writer Micheline Sauvage's words on Don Juan: "Not the profaner of love, but the hero of profane love." Picasso possessed energy and drive that included prodigious eating, drinking, sexual expression, writing, the production of art, and more art.

Housekeeping out of the way, Clair'sessay grows into something remarkable: part biography, part chant. If you read it aloud you might well amaze and delight yourself and your listener.

Annie Le Brun's "Painting in the Bedroom" successfully places Picasso's erotic sensibilities and drivein context and in comparison to other painters, whom she asserts (and proves) shared traits with Picasso. 'Diamond Made of All the Love of the Loves of Blood,' (the title comes from a diary entry ofthe artist) by Marie-Noelle Delorme is a fabulous compilation, effectively and subtlely organized, that shows Picasso the energetic and larger-than-life diarist - a passionate and powerful writer on love, bodies, intimate landscapes, and much more.

The illustrations - a "Chronological Catalogue of Exhibited Works,"fill over 200 pages. The layout and the colors are good and the plates are big enough. There are oil paintings, etchings, drawings in pencil, colored pencil, chalk, ink, and charcoal;aquatint, drypoint, etchings; sculptures in wood, plaster, clay and bronze - and more. The earliest drawing is a copulation scene, "Donkey and She-Ass," done by a nine-year old Picasso - who as a schoolboy was already drawing confidently and well and, it can be argued, had already found his voice.

The works are of men, women, animals together, animals with people, blind men, lovers, voyeurs, brothel scenes, outsized genitalia,mythological beasts and people, nudes in classical poses, Cubist paintings on erotic themes, sketches of solicitude and tenderness and caring, playfully altered pin-ups from the 50's, visions of sexuality altered but undimmed by old age, and much more.

By virtue of its twelve strong, smart, passionate essays, and its 300 plates,thisbook becomes much more than the sum of its parts.Very worthwhile, and a great read. ... Read more

Product Description
Here is the fascinating story -- based on true fact -- of a world-famous artist and a little girl who became one of his models. Sylvette first met Picasso in 1954, when she was a girl in the southern French town of Vallauris. At that time, she was the shyest and dreamiest girl among her friends, though today, she is a respected artist in her own right. When Picasso set up his studio in a nearby house, he spotted young Sylvette and was taken immediately by her classical profile and her lovely ponytail. When at last he convinced her to pose for what became the first of more than forty works of art, the two gradually became good friends. Before long, Picasso's portraits of Sylvette became famous around the world.

Author and illustrator, Laurence Anholt, captures the spirit of this warm-hearted story in words and pictures. In the process he also introduces several of Picasso's most famous paintings. Young readers will be intrigued to see how Picasso transformed Sylvette's image into a variety of fantastic and whimsical forms. (Ages 4-7). ... Read more

Customer Reviews (12)

As much as I've loved all the rest in this series, this has some mature themes
My almost 5 year-old and I have devoured all of Laurence Anholt's books in the artist series (except for the latest on Cezanne), and loved them all, with the exception of this title on Picasso. Though my daughter loved the illustrations and was fascinated by the abstract way in which Picasso portrayed Sylvette, I was a bit concerned at some of the more mature themes in here, which I thought inappropriate for young children.

All of Anholt's stories in the artist series are rooted in actual events, and this is no exception. Young Sylvette is a shy and rather withdrawn young girl when Picasso gets to know her, quite by accident. The two form a friendship, and Sylvette poses for Picasso, becoming his muse for a short time. During this time, it is revealed that Sylvette has a rather strained relationship with her mother's boyfriend, who is portrayed as a "loud and unpleasant bully", and causes Sylvette to wish she could escape by running away. Anyway, this just seemed a bit too deep for a young child to comprehend and I glossed over it whilst reading it to my daughter.

This is why I gave the book three stars. We both loved the representations of Picasso's art, especially the parts that showed how Picasso painted Sylvette, and my daughter loved the abstract representation of the muse. I would still recommend Anholt's artist series of books for young children, but would advise some caution with this particular title, especially for grades K and under.

odd
This book was purchased for a little girl who loves art.I did not give it to her after reading it.

Lovely story and intro. to the artist
My 4-year old daughter and I love all of the books in this series.The illustrations and reproductions of Picasso's work are lovely. I like to be able to introduce her to artists, and these books, unlike most others, have a story. It is about a 15 minute read aloud, not too long for one on one. Very enjoyable.

Interesting, but some deep subject matter
While this is a beautifully illustrated book, looking to be ment for children, there are some awefully deep emotional parts in it that I skip over when reading to my 4 year old. It is a longer picture book and geared towards 2-4th graders. It's interesting and tells a lot about Picasso and his works, but could do without his subject's tormented and emotionally disturbing past.

NOT for a PreK classroom!
There are an average of 100 words on each page. ... Read more

Product Description

Customer Reviews (1)

"the mask" has appeared a few times along human history
With eloquence Malraux recalls his dialogues with Picasso on art. They talk about the"museum without walls" each has collected along time, and discuss on why they chose each piece. Picasso says "the mask" has appeared very few times in human history, and that he is looking for it. The book is precious and makes one think deliciously on one's own "museum" ... Read more

Product Description
Describes the childhood of the famous artist, a moody and imaginative boy whose extraordinary talent was first recognized by his father. ... Read more

Customer Reviews (1)

Pablo Picasso
Pablo Picasso by Ibi Lepscky conveys Pablito's artistic temperment very well, but does not tell much about his family life, details in whichchildren find their commonalities.This is a very good biography ofPicasso's genius, and I will use it in conjunction with Picasso by TonyHart. ... Read more

Product Description
A brief biography of the famous artist accompanies reproductions and analyses of several of his works. ... Read more

Product Description

Customer Reviews (1)

Beautiful
This is simply an amazing collection of monologues. This collection offers a unique look at Picasso through the voice of his wives, mistresses and muses. The book includes eight monologues through the voices of Olga, Eva, Marie-Therese, Gaby, Françoise, Jacqueline, Dora and Ferdinand. They speak about their relations with Pablo from beyond the grave. The monologues are surprisingly honest, humorous and don't hold back from occasionally incriminating Picasso. All of the monologues are different, some flatter Picasso, and some do the opposite. I highly recommend this collection, especially for other drama and art history majors. Reading this masterpiece puts you through an emotional trip that will leave you in tears and giggles. ... Read more

Product Description
Examines the life and works of the renowned modern artist. ... Read more

Product Description
Few paintings have been as extensively analyzed as Picasso’s Les Demoiselles d’Avignon, and yet, according to Wayne Andersen’s radical new interpretation of the painting, it has been repeatedly misrepresented and misunderstood by biographical novelizing and reductive psychoanalysis. Andersen seeks to rescue the painting from the myths that obscure its origins, which depict it variously as an outburst of rage against his live-in lover, or as an act of vengeance for Picasso’s having contracted syphilis from a prostitute; such myths are the source of the artist’s reputation for misogyny. Looking back to the original sources of these stories, Andersen identifies a catalog of errors, passed from one author to another, which have distorted our view of Picasso.

Customer Reviews (1)

Revising and Rehabilitating Picasso's Demoiselles
The state of art history comes into qusetion when reading what Andersen has to say about Picasso's Brothel. How did so many errors and misinterpretaions get into the literature? Andersen reconstructs how the Demoiselles looked befor the epiphany that Picasso underwent on seeing tribal images in the Museum of Ethnology in the Trocadero. And based on that recconstruction, he proposes that the retrospective and determinist notions about the way the imagery evolved, and the psychoanalytic interpretations of Picasso as to his terror of women, should be completely revised. ... Read more

Product Description
Intimate, revealing memoir of Picasso as man and artist by influential literary figure. Highly readable amalgam of biographical fact, artistic and aesthetic comments: Picasso as founder of Cubism, associate of Apollinaire, Braque, Derain, other notables; titanic, creative spirit. One of Stein’s most accessible works. 61 black-and-white illustrations. Index.
... Read more

Customer Reviews (5)

Very bad writing; some good insights; Picasso paintings
From the beginning sentence, this book is poorly written; it requires great patience to finish it, despite the short length. Many sections require multiple readings simply to discern the meaning of the convoluted and awkward prose. This is not a great stylist breaking a few rules to pioneer a new style. It is bad writing, littered with run-on on sentences, comma splices, neglected semicolons, one sentence paragraphs, and annoying repetition. As a professor, I was tempted to take out the red pen and correct as I went along.

Nevertheless, the author was a friend of the great and enigmatic painter, and, as such, she offers telling insights about the role of his nationality and personality in his art, particularly cubism. (The book was first published in 1938.) We read nothing of Picasso's famous libidinal exploits (for which one should be grateful) and very little about his biography. Those facts are cut to the bone; painting is what Stein addresses.

My older edition of the book (published in England in 1948) features several color prints and many black and white offerings. You will find little detailed analysis of any of these paintings, however. Stein charts Picasso's various "periods" and the development of his thought.

For one interested in Picasso and the meaning of the twentieth century (and not just its art), this slim and nearly unreadable volume discloses a few noteworthy observations about art, war, and Pablo Picasso. But how any editor ever released the book in this form is beyond this writer and teacher.

Charming and brief assessment of Picasso's early work
I've been reading Richardson's Picasso biography, and he refers so frequently to the Steins that I had to buy this book.I found it absolutely charming, witty, and typical Gertrude Stein.Her prose runs in circles, and she's consistently self-focused.She views herself as a pioneering art doyenne and one of the few who truly understood the art movements in Paris in the early part of the 20th century.But her affection for Picasso is undeniable, and that's what makes this book so wonderful to read.

Picasso often felt that Gertrude in fact did *not* get what was going on with cubism and his and Braque's works.But she liked to have artistic company, Picasso liked that she bought so much of his work, so their relationship worked.

This is a quick book to read - contrary to what another review suggests - and makes for a wonderful Saturday afternoon.It helps if you know something of Picasso's history, so read this with a collection of his work on the side.

Stein and Picasso: ..., Getting Modernism: Priceless
In this epochal gem originally published in London in 1938, Gertrude Stein tells of the arrival and rise of Picasso, and through him, Modernism and the 20th century, filtered through her own performance art.By "filtered" I am not suggesting that it is fiction or distorts its subject; in fact, it's a live action postcard from the epicenter of the man and movement.Not only does it inform with fact, it informs with form.

Stein says with characteristic self assurance that she alone understood Picasso and compared what he did in art to what she did with words, and there is merit in the comparison.Picasso, influenced by the Spaniards, came to believe that truth existed in the conceptual realm, it did not come from the material world.Whereas proceeding generations accepted what they saw before them as truth and responded realistically, Picasso chose to portray his inner vision on canvas and backed away from using models.Cubism became his way of signifying how he experienced the significance of the still life or human form.A person, a tableau was not perceived as the whole but as parts, some of them standing out more prominently than others.Similarly, Stein orders her information according to emphasis, with her characteristic tic of repetition--remember, this is the person who gave us lines like "A rose is a rose is a rose" and "there is no there, there."

Stein does not overindulge herself, however, and imparts a generous amount of lucid thought on how Picasso created and from what and whom he drew his influences.She progresses chronologically through his periods-the blue, the rose, the harlequin, Cubist, calligraphic, etc., up to the point she was writing. This plus salient insights into society, war, creative artists and the 20th century in general make the volume quite a deal in a small package.

Seeing The World Through The Eyes Of An Infant
As has been written elsewhere (Try Hemingway's A MOVEABLE FEAST, for instance) Gertrude Stein possessed a tremendous ego.She did not express opinions, she stated facts even when the basis for her facts existed onlyin her head.She also had the irksome habit of repeating the sameinformation many times, often approaching it from slightly differentdirections.Again, I am certainly not the first to comment on thispeculiarity of her writing.That this book is filled with examples of bothof the above does not take away from its excellence in revealing much aboutPicasso and his art.

Stein's fame comes more from her position in theintellectual and artistic community of early to mid twentieth century Paristhan from her ability as a writer or poet.It was because of this positionthat she came to know Picasso so well, and it was as an outgrowth of thispersonal relationship that this book came to be written.

One area that Ifound very informative in PICASSO was Stein's analysis of the alternatinginfluences of Picasso's Spanish soul, Paris, and Spain itself, on thevarious periods of Picasso's artistic development.In this respect, Steincontrasts Spain and France in the following manner:Spain was a sadcountry with a monotony of coloring while France was the country ofToulouse-Lautrec with vivid colors and images.

With that as a background,she introduced Picasso, as a young man in Spain, painting realistic worksin the late nineteenth century manner.This was followed by his firstvisit to Paris during which he was influenced by the paintings ofToulouse-Lautrec.(See illustration #3, "In the Cafe")He thenreturned to Spain in 1902, staying until 1904.During this period, histemperament returned to that of his native Spain and he produced thedarker, more somber paintings of his "blue period."This periodended with his return to Paris in 1904.Throughout the balance of PICASSO,Stein traced his painting cycles and the people and experiences thatinfluenced them.

Picasso revealed to Stein, and she passed on to us, oneof the main secrets of his later styles.He saw as a very young child saw,and painted what he saw through those infantile eyes.An infant sees whatit sees from very close up and, consequently, only sees one or two of itsmother's features at a time.An infant can't focus at a distance andprobably couldn't recognize its own mother from across a room.That infantwould probably recognize an eye or a nose, or one or two other features. That same child would probably only recognize its mother in profile, andonly from one side at that, i.e., left or right profile, but not both. This was the vision that Picasso brought to his art:a recognizable eye, anose in profile, and these not necessarily connected in any way that makessense to the eye of an adult viewer.It was one of the geniuses of Picassothat he could utilize this vision in his art, and it was as a gift thatGertrude Stein let us in on the secret.

I have visited the Picassomuseums in Barcelona and Paris, and through their displays, have tracedPicasso's evolution as an artist.Neither museum was as instructiverelative to Picasso's thought processes as was this small book with itsmany black and white illustrations.For having providing these insights, Ican forgive Gertrude Stein for all her mannerisms and displays ofego.

Much more information about Picasso and the literary and artisticpersonages of his era can be gained by reading this book.I do recommendit.

A brief life of Picasso by the gatekeeper of Modernism
Gertrude Stein's fifty-odd page remembrance of Pablo Picasso is brief in page length only.Her convolved writing style challenges the reader to think within the context of Picasso's own creative processes.This is nota quick read, but I was struck by how Stein had her finger on the pulse ofPicasso's drive and desire in painting.Her scope is concerned with theRed and Blue Periods and the start of Picasso's role in the invention ofCubism.As much of a literary challenge as it is a close reading ofseveral important Picasso paintings, including Stein's own famous portrait. ... Read more

Product Description
In a book that examines the powerful body of work in which Picasso developed his potent and harrowing motif of the weeping woman, Judi Freeman's illuminating text examines the weeping woman images in detail and explains their works of private agony and public grief. 145 illustrations, 110 in color. Size D. Available. ... Read more

Customer Reviews (4)

The Symbolic Road to Guernica
Of all of Picasso's artistic periods (and collections), this one is my favorite.And anyone who has been stunned by the emotional depth and symbolism of perhaps Picasso's most famous painting, the scene depicting Franco's devastation of the city of Guernica, this book will show you how it evolved as kernels of ideas in the great artist's mind.

These plates are the very embodiments of the grief and anguish we see in the faces of the people and animals in Guernica: empty hollow eyes, expanded dart-like but fire breathing nostrils, tongues that resemble knives, contorted torsos, hair unfurling like the tentacles of an octopus, disemboweled animals, etc. These are themes and symbols of anguished worked out to artistic perfection over a period of almost two years in Piccaso's mind. Each generation of Picasso's weeping women, represents a new modality of his emotional state as he prepared for the grand finale of Guernica. It hardly mattered that Marie-Therese Walter and Dora Maar, his two favorite Mistresses, were used as the canvas or backdrop for his "practice session" on the road to Guernica.

In our house, long before buying this book, we have had separate framed prints of each of these tormented ladies of the day and night gracing our living room walls. What is important about them is made imminently clear in this book of plates and expert annotation by Judi Freeman. There are no more secrets about them and their anguish once Ms. Freeman has done her thing: Picasso was on a mission; that mission was to express in the most profound way possible up to the limits of his considerable artistic abilities, what he felt about the massacre and atrocities committed by Francisco Franco, at Guernica. There is nothing here but controlled anger verging on madness oozing from frame to frame and from one modality to another. It is just one more gift, among so many, that Picasso has allowed us to share.

Judi Freeman takes us by the hand in this step-by-step evolutionary journey through the development of an artistic idea that leads to the emotional explosion we have come to know as Guernica. At once, Guernica reminds us both of what the best and the worse of our humanity is. And the artistic world since was never the same.

As we used to say once the cards in poker were dealt: "Read'm and weep," but be immensely enriched by the experience. Ten stars

THE ARTIST'S WORK BROUGHT TO COMPELLING LIFE

Picasso once said that painting, rather than being an aesthetic operation, was a way of "seizing the power by giving from to our terrors as well as our desires."Perhaps in 1937 when most of these weeping women portraits were painted, Picasso was giving form to his feelings about his personal situations and the current political climate.

According to Freeman, through these depictions he was examining his emotional responses to Olga Koklova, his estranged first wife; Marie-Therese Walter, who was a young woman of 17 when Picasso approached her on the street, and later bore him a daughter; and Dora Maar, the photographer who was his companion in the years prior to and during the war.

On another level this collection makes a political statement - these weeping women represent the anguish of Europeans being propelled into war.It should also be noted that 1937 was the year Picasso painted "Guernica," his response to the Spanish Civil War.

Author Freeman was Associate curator at the Los Angeles County Museum of Art where she organized the exhibit of Picasso's Weeping Women.She has contributed an exemplary text, while over 100 color illustrations bring the artist's work to compelling life.

Gail Cooke

And he lost her...
In exploring the relationship between Dora Maar and Pablo Picasso I have been absolutely delighted in the information in this text. As well, the works of art and other related details. Thankfully we have this art history text for future generations.

More great history
Ahhhh, I can't get enough of historical fact coupled with art! Bravo! ... Read more

Product Description
Picasso's extraordinary capacity to work in a variety of mediums and styles has amazed his critics since the first years of the century. This collection of critical and personal reactions to Picasso at every stage of his career provides a remarkable account of the many innovations and changes of direction that baffled his contemporaries. Picasso's working methods and his attitudes to his own art are also revealed in conversations and in letters and statements by his closest friends.

A Picasso Anthology contains a wide range and variety of contemporary responses to Picasso and his art. There are essential passages from books by his close friends, including Apollinaire, Cocteau, and Roland Penrose; an important body of Catalan and Spanish criticism; reactions from English critics, including Roger Fry and John Middleton; a remarkable collection of Russian criticism of his cubist work, written in the years just before the Revolution; and Czech, Danish, and Italian articles, as well as mainstream texts from France and Germany. ... Read more