Book Description
Dora Maar, born Henriette Théodora Markovitch in 1907, was a talented artist in her own right. While studying painting, she soon found a passion and gift for photography, and became a prominent member of the Surrealist movement. This catalogue traces her relationship with Picasso, from the time of their first meeting in late 1935 through 1937. Picasso expert Anne Baldassari demonstrates how those years were critical for both artists, and how their interaction provided mutual inspiration through the mid-1940s. The relationship is set within the context of major historical events, from the Spanish Civil War and the Popular Front, to the rise of fascism and World War II.
This chronological account brings a legend to life, allowing the reader unique access to two artistic minds. Maar s photographs, alongside Picasso's drawings, paintings, and poems, serve as a guide through the critical period in which these two figures influenced one another. Preserved in her studio archives, Maar's negatives and contact prints allow us to analyze in detail the intimacy of the life she shared with Picasso in all of its states, as well as the evolution of his art, including the colossal Guernica.
This exquisite volume features green-gilded pages and personal mementosâincluding notes scrawled on matchboxes and small sketches, which are produced on onion skin paper throughout. This book sheds light on the profound mark left upon Picasso and his work by their dynamic relationship.
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The Sculptures of Picasso: Photographys By Brassai
Daniel-Henry Kahnweiler
Manufacturer: Assouline
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ASIN: 2843237882 |
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- Photography as the Painter and Sculptor's Intermediary
- A solid, informative survey of artistic explorations.
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The Artist and the Camera: Degas to Picasso
Dorothy Kosinski
Manufacturer: Dallas Museum of Art
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ASIN: 0300081685 |
Book Description
Artists discovered and explored the artistic and practical applications of photography at the end of the nineteenth and the beginning of the twentieth centuries. This stunning book explores the highly individual ways some of the most influential artists of the period put this “wondrous new medium” to use in their painting and sculpture and shows how they enfolded photographs into their creative processes.
Paintings, sculpture, and photographs by such artists as Bonnard, Brancusi, Degas, Gauguin, Khnopff, Moreau, Mucha, Munch, Picasso, Rodin, Rosso, Vallotton, von Stuck, and Vuillard are discussed and reproduced. The book also includes an array of photographs by great masters (Steichen, Nadar, Muybridge) and lesser-known figures.
Customer Reviews:
Photography as the Painter and Sculptor's Intermediary.......2000-08-31
I first became aware of the impact of photography on abstract art when I commissioned a portrait. Expecting to be told to sit, instead I was encouraged to strike poses that meant something to me. The artist followed me around with a Polaroid camera. We discussed what the camera was showing, and tried different poses. Eventually, I found one we both liked. Then he made copies of the Polaroid and began using a marker to crop and adjust the work. Later, when the painting was finished, I could see a memory of the Polaroid but the actual painting was quite different in image and execution of color and materials. When I asked about this, the artist told me he had first trained as a photographic artist and liked to work back and forth between the two media. Very interesting.
With that experience, I was delighted to see this fine work on the impact photography had on Symbolist artists around the turn of the 20th century. This is a catalogue also for a traveling show that is just about to close at the Guggenheim in Bilbao. The closest location to me was Dallas, so I would have missed the show otherwise.
The catalogue is much more heavy duty than most such efforts. It is dominated by essays rather than by images, although it is generously illustrated.
The subject is well-chosen because these artists were heavily interested in expressing the interior essence of the subjects rather than their outward appearance. Dorothy Kosinski's opening essay on Vision and Visionaries is a wonderful summary of the show. After introductory essays by Elizabeth Childs on The Photographic Muse, Douglas Nickel on Photography and Invisibility, and Ulrich Pohlmann on Photography as a Study Aid, each artist has an essay describing his use of photography. In order of appearance are Moreau, Degas, Rodin, Gauguin, Khnopff, Rosso, Mucha, Munch, von Stuck, Vallotton, Bonnard, Vuillard, Brancusi, and Picasso. Some of the artists may be unfamiliar to you, as they were to me. But it's a good excuse to learn about them.
What I learned from the book was a greater appreciation for the creative process. For example, I might admire a figure in a painting, but seeing it in the context of a photograph of the model makes me appreciate it more. Because this way I can see what the artist added, which gives me clues as to what the artist wanted to express that I might have missed. And the transformations are quite substantial and impressive.
Naturally, not everyone used photographs simply as models. The sculptors tended to use photography also to display their work in more powerful ways. For example, the lighting effects on Rodin's and Brancusi's finished works are quite stunning . . . adding elements that would be unseen otherwise.
I was equally interested in the use of x-rays and microscopic pictures to reveal what cannot be detected by the eye, and expand the range of images that can be considered. Photography of motion also picks up elements that can never be posed otherwise, like a rider on a racing horse.
Photography also became a form of communication for these artists. Gauguin used photographs to keep in touch with Paris in both directions while in Tahiti. Picasso was able to carry around with him the classical examples that inspired him, without needing to revisit the original. These references also communicate to us more about what he had seen and wanted to portray. It expanded my understanding of his early works to see these connections. His classical roots are much deeper than I had realized.
Interestingly, the artists usually tried to keep their use of photography a secret. Some even railed against photography, while using it in private to assist them. Many of them eventually learned to make their own photographs, but many relied on the talent of fine photographers to help them.
The question that kept running through my mind was how artists are using the Internet now in ways that will not be documented and understood for another 100 plus years.
Enjoy this wonderful and thought provoking book that will expand your access to art!
A solid, informative survey of artistic explorations........2000-03-03
Dorothy Kosinski's Artist And The Camera: Degas To Picasso explores the ways in which influential artists from the period put a new medium to use in painting and sculpture. This accompanies a traveling exhibition but stands alone as a solid survey of artistic explorations at the end of the 19th and beginning of the 20th centuries.
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Picasso Line Drawings and Prints (Dover Art Library)
Pablo Picasso
Manufacturer: Dover Publications
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ASIN: 0486241963 |
Book Description
44 drawings from many periods, styles show master 20th-century draughtsman's incredible line. 1905 circus family, portraits of Diaghilev, Balzac, cubist studies, neo-classical nudes, mythological scenes, many media: lithograph, drypoint, etching, pen-and-ink.
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- Sunny Paris Afternoon with Picasso, Cocteau & Friends
- Snapshot of the artist as a boulevardier
- A excellent book on the artists early life .
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A Day with Picasso
Billy Kluver
Manufacturer: The MIT Press
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ASIN: 0262112280 |
Amazon.com
During the 1980s, Swedish-born Billy Klüver became a sort of amateur archivist, collecting early-20th-century photographs of the bohemian district of Paris known as Montparnasse. One day he stumbled upon a group of astonishing photographs depicting such seminal modernist figures as Modigliani; Picasso; his friend, the poet Max Jacob; and the poet and critic André Salmon as well as Picasso's mistress, P`querette. Like an archaeologist reconstructing an artifact, Klüver set about trying to determine how, where, and why the pictures were taken. The result of his efforts is the whimsical and engaging A Day with Picasso, centering around 24 pictures taken on the afternoon of August 12, 1916, over the course of four hours. The photographer? None other than Jean Cocteau, in an early experiment that perhaps prefigured his later films. Brought together by an exhibit at the Salon d'Antin, the famous subjects are shown laughing and clowning their way through a café lunch and later adjourning to a nearby restaurant.
A Day with Picasso also contains a detailed précis of Cocteau's work, some contextual background about the subjects and their relationships to one another, and some sample drawings from the artists whose relaxed camaraderie is so vividly captured in these intriguing photographs.
Book Description
In 1978, while collecting documentary photographs of the artists' community in Montparnasse from the first decades of the century, Billy Klüver discovered that some previously unassociated photographs fell into significant groupings. One group in particular, showing Picasso, Max Jacob, Moïse Kisling, Modigliani, and others at the Café de la Rotonde and on Boulevard du Montparnasse, all seemed to have been taken on the same day. The people were wearing the same clothes in each shot and had the same accessories. Their ties were knotted the same way and their collars had the same wrinkles. A total of twenty-four photographs--four rolls of film with six photographs each--were eventually found. With the challenge of identifying the date, photographer, and circumstances, Klüver embarked on an inquiry that would illuminate the minute texture of that time and place.
Biographical research into the subjects' lives led Klüver to focus on the summer of 1916 as the likely time the photos were taken. He then measured buildings and plotted angles and lengths of shadows in the photographs to narrow the time frame to a spread of three weeks. Further investigation eventually allowed Klüver to identify the photographer as Jean Cocteau and to determine the day that Cocteau had taken the photographs: August 12, 1916. A computer printout of the sun's positions on that date, obtained from the Bureau des Longitudes, together with the length of the shadows, enabled Klver to calculate the time of day of each photograph, and thus to put them in proper sequence.
In a tour de force of art historical research, Klüver then reconstructed a scenario of the events of the four hours depicted in the photographs. With evocative attention to detail--noting when Picasso is no longer carrying an envelope or Max Jacob has acquired a decoration in his lapel--Klüver recreates a single afternoon in the lives of Picasso and friends, a group of remarkable people in early twentieth-century Paris.
Besides the central "portfolio" of photographs by Cocteau, the book contains additional photographs and drawings, short biographies of all the subjects, and a historical section on the events and activities in the Paris art world at the time.
Customer Reviews:
Sunny Paris Afternoon with Picasso, Cocteau & Friends.......2006-02-19
If you ever wanted to travel back in time and grab a bite and spend the day with Picasso, Cocteau, Modigliani et al., then this is probably the closest you'll ever get. Kluver's book is kind of a miracle, little gem, really. Who would have thought that one day in the life of a group of friends could be so interesting (albeit a very important group of friends). Perhaps they never thought about that day, or those photographs again. The book not only successfully outlines the day itself, but the whole context for the day. What was going on with whom, how so and so knew the other, what important gallery shows were coming at the time, etc.
The story also illustrates the marriage of Cocteau's bourgeous/fashion/aristocratic circles with the Montparnasse/Left bank artists...Picasso and Cocteau remained lifelong (though sometimes strained) friends, and this was during the early years of that relationship. The context of the story also brings in couturier of the day Paul Poiret (his home(!!) and adjacent gallery), and patroness Misia Sert, both of whom I loved learning more about after reading this book (Arthur Gold's Misia Sert is a GREAT read). Be sure to read the Notes when you read this book, they hold lots of great little nuggets of information, testament to Kluvers copious and detailed research.
Snapshot of the artist as a boulevardier.......2000-12-17
Long ago, in a city far, far away, Pablo Picasso and some Montparnasse artist colony friends went cafe-hopping. The future film director Jean Cocteau, on leave from the Western Front, snapped pictures of the group indoors and out. Time passed, the friends went their separate ways, and the pictures were dispersed into different hands. Three-quarters of a century later, a Swiss electrical engineer collecting photos of the Montparnasse scene discovered that several of the photos seemed to have been taken at the same time. This book is the story of how he discovered other photos in the series in different collections around the world, how he discovered the identity of the photographer, and how he pinpointed the day and time the pictures were taken.
This is an amazing book, as much for the ten-plus years it took to sleuth this story out as for the fact that anyone did it at all. The author, once he went to extraordinary lengths to collect these photos, even consulted the French Bureau of Longitudes to analyze the shadows in the pictures, in order to fix the time of day.
So, what do we have? Pictures of Picasso as a man in his mid-thirties (with a full head of hair!), in cafes and on the street with other artists, notably Modigliani and Kisling, and his then current amour, and other acquaintances. They cheerfully pose and mug for their friend Cocteau. And that's it, really. The text relates the story of how these photos were taken, and how the author discovered when, where, and by whom they were taken.
As if that wasn't impressive enough, he then adds chapters which deduce what kind of camera Cocteau used, maps of the area with the camera angles plotted, and selections of drawings, diaries, and correspondence that illustrate one detail or other of the pictures. It's all very interesting, in a headache-inducing way--rather like contemplating a picture painted on a grain of rice. And all this for the sake of recovering a long-ago afternoon of bar-hopping! _Le recouvrement du temp perdu_, indeed.
A excellent book on the artists early life ........1998-11-01
I havent ever seen a book like this before. Reading this book and following the complete pictures is the next best thing to having a time machine.This book answers those questions that we never had answered like how was he with his friends? etc. You will enjoy it.
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Picasso and Printmaking in Paris
Stephen Coppel
Manufacturer: University of California Press
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ASIN: 185332180X |
Book Description
By 1904, the year when Picasso finally left Barcelona and settled in Paris, the French capital had become the undisputed art center of the world. Printmaking was an integral part of the creative upheaval centered in the School of Paris, and the overarching figure there was Picasso. This book outlines the creative diversity that was a part of Paris printmaking, including not only the work of Picasso but also of Miró, Magnelli, Fautrier, Hartung, Soulanges and Dubuffet. Important, too, were the city's skilled printers and unmatched technical facilities for printmaking. Informative commentaries accompany each of the sixty illustrations in the book.
Product Description
October 11th and 12th, 2006..two volumes, hardcover as issued. New.
Average customer rating:
- important subject, worthy book
- Important and interesting topic, but presented as a diatribe
- Poor analogies, and no real argument
- Poor Attempt
- Important but repetetive message
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Vanishing Voices: The Extinction of the World's Languages
Daniel Nettle , and
Suzanne Romaine
Manufacturer: Oxford University Press, USA
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ASIN: 0195152468 |
Book Description
A dramatic account of the rate of language extinction, and how it endangers the future of biodiversity Few people know that nearly 100 native languages once spoken in what is now California are near extinction, or that most of Australia's 250 aboriginal languages have vanished. In fact, at least half of the world's languages may die out in the next century. What has happened to these voices? Should we be alarmed about the disappearance of linguistic diversity? The authors of Vanishing Voices assert that this trend is far more than simply disturbing. Making explicit the link between language survival and environmental issues, they argue that the extinction of languages is part of the larger picture of near-total collapse of the worldwide ecosystem. Indeed, the authors contend that the struggle to preserve precious environmental resources-such as the rainforest-cannot be separated from the struggle to maintain diverse cultures, and that the causes of language death, like that of ecological destruction, lie at the intersection of ecology and politics. And while Nettle and Romaine defend the world's endangered languages, they also pay homage to the last speakers of dying tongues, such as Red Thundercloud, a Native American in South Carolina, Ned Mandrell, with whom the Manx language passed away in 1974, and Arthur Bennett, an Australian, the last person to know more than a few words of Mbabaram. In our languages lies the accumulated knowledge of humanity. Indeed, each language is a unique window on experience. Vanishing Voices is a call to preserve this resource, before it is too late.
Customer Reviews:
important subject, worthy book.......2007-08-09
This is an outstanding book. Nettle & Romaine have produced a serious, well-reasoned analysis of linguistic depletion. They ground their analysis with historical surveys covering the origins of human language as well as the effect on languages of colonialism all over the world.
I haven't written an amazon review before, but I think some of the previous reviewers do this book a disservice. N&R give many examples of how certain types of economic development have disrupted traditional cultures and languages. To ask that they "avoid politics" as one reviewer does is silly. These are concrete power relations they are describing. Really, their political engagement is commendable. I didn't expect it from such a scholarly book.
N&R present a thoughtful analysis of the impediments to the goals of "rural development, sustainability, and cultural/linguistic pluralism." I was particularly impressed by their description of the superiority of traditional Balinese rice-growing methods to those forced in place by the Asian Development Bank. (The ADB concluded "the cost of the lack of appreciation of the merits of the traditional system has been high..." p170) N&R point to models of economic development that utilize traditional knowledge rather than disregarding it, as neoliberal top-down schemes do.
If you are at all interested in sustainable development, the problems of globalization, or preservation of traditional cultures, the authors bring a linguistic perspective to the intersection of all three that is invaluable.
Also, I was intrigued by their linkage of linguistic diversity to biological diversity. It is striking how closely they correlate geographically. If there's one thing I would have liked in the book, it would have been a brief account of the generation of new languages. But I guess that's why we have poets.
This book is well-written, and presents arguments both broad in scope and subtle in detail. I highly recommend it.
Important and interesting topic, but presented as a diatribe.......2006-08-28
This book presents an important, pressing concern for all humanity, namely the rapid loss of most of the world's languages. The authors rightly present this problem as one in urgent need of attention and help. However, the authors make their case in a rambling diatribe, with very overt political commentary. They proceed to comment on agricultural processes (they never mention that the agricultural revolution saved millions from starvation), capitalism, globalization, make subtle anti-Western jibes, etc. They praise French-language measures adopted in Quebec, but fail to discuss the numerous critiques of, nor the alleged socioeconomic losses to Quebec that resulted. They praise and cite as examples for future action everywhere language-immersion programs in places like Ireland, New Zealand, and Hawaii, yet none of these situations is remotely close to the situation of most endangered languages in the world in terms of population size, resources, state support, etc. If the authors had focused on the subject at hand and avoided politics, this book could have been so much better.
Poor analogies, and no real argument.......2003-06-06
Vanishing Voices does a good job of showing how larger languages are destroying smaller ones, and the methods of language death. This is all pretty much common knowledge. However, the authors fail in their attempt to give a reason as to WHY language death is something with which we should be concerned. The only argument they put forth is in a ecological/enviromental analogy, which says that biological diversity is good and stable, therefore, linguistic diversity must. However, they only go part way in their analogy and reject natural selection for languages. They also show that linguistic diversity corresponds to environmental diversity, but state this has nothing to do with the inexcessiblity of the areas. The violin-playing and loaded words are hard to stomach if you are looking for good social science. I would not suggest the book unless you are an ecological activist wanting to try to link your cause with "saving cultures" or with yet another critique of the West.
Poor Attempt.......2002-12-03
I think this book is very repetitive and is a very poor attempt at showing why losing all of these languages is important. They are comparing losing these languages to animals and plants going extinct. They try and draw all of these worthless comparissions that do not make any sense. This book is not even worth being picked up.
Important but repetetive message.......2001-09-27
There is little for me to add to the other fine reader reviews of this work except to say that I found it very repetitive. I am not sure that it could not have been a long article in the Atlantic or Harper's.
I am not at all sure that there is much that can be done to preserve some of these minor languages in the long run but I do find it admirable that the authors have taken up the cudgel.
Book Description
This digital document is an article from Verbatim, published by VERBATIM on January 1, 2002. The length of the article is 1458 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Vanishing Voices: the extinction of the world's languages. (Bibliographia). (book review)
Author: Steve Kleinedler
Publication:
Verbatim (Magazine/Journal)
Date: January 1, 2002
Publisher: VERBATIM
Volume: 27
Issue: 1
Page: 27(3)
Article Type: Book Review
Distributed by Thomson Gale
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