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Journal articles on the topic 'Pablo Picasso'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Martori, Claudia. "Silence, Abuse, and Madness: Picasso in Jeanette Winterson's Art & Lies." Grove - Working Papers on English Studies 30 (December 30, 2023): 75–88. http://dx.doi.org/10.17561/grove.v30.8008.

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In Art & Lies (1994), Jeanette Winterson presents three characters who are alter egos of Handel, Picasso, and Sappho. This article focusses on Picasso as an alter ego not only of Pablo Picasso but also of the character itself, whose birth name is Sophia, and of Pablo Picasso’s lovers, who were silenced, abused, and driven to madness like Winterson’s Picasso. The main aspects taken into account are the fact that the character is silenced by her family and that she is sexually abused by her brother in order to understand that her journey towards becoming the madwoman in the attic is induced

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2

WITHERS, JOSEPHINE. "PABLO PICASSO." Art Book 1, no. 3 (1994): 15a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00116.x.

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3

SOMERVILLE, ROSA. "PABLO PICASSO." Art Book 1, no. 3 (1994): 22. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00143.x.

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4

Spiridon (Ciocoiu), Ioana-Cristina. "„Efectul Picasso”. Expoziție desfășurată la Muzeul de Artă Recentă, București, 27 septembrie 2023-22 ianuarie 2024." Revista Muzeelor 1 (2024): 175–82. https://doi.org/10.61789/rm.2024.14.

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The exhibition “The Picasso Effect”, held at the private art museum MARe, is part of an international celebration of 50 years from Pablo Picasso’s death, along with exhibitions held at other 42 worldwide museums, such as “The Echo of Picasso” in Malaga, “Diego Velázquez invites Pablo Picasso... and Carmen Calvo” at the House of Velázquez, “Picasso Sculptor. Matter and Body” at Guggenheim Museum from Bilbao, “Picasso: drawing to infinity” at Centre Pompidou. The relevance of the exhibition held in Bucharest resides mainly in: mapping Bucharest for international, acclaimed artists, highlighting

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5

Apele, Diāna. "THE CREATIVE INFLUENCE OF PABLO PICASSO ON THE WORKS OF LATVIAN ARTISTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 15. http://dx.doi.org/10.17770/sie2017vol4.2417.

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Pablo Picasso is one of the Western modern culture creators of the first part of the 20th century. Picasso has influenced numerous artists directly or indirectly – both the followers of Western school and artists here, in Latvia. The main topic of this research is Pablo Picasso's influence on Latvian artists, specifically – Visvaldis Ziediņš, Rūdolfs Pinnis and Aleksandrs Dembo. Picasso stands out for exceptionally virtuosic style – it was characteristic of him to begin each new work as an individual wholeness, experimenting with graphic forms, colours, textures, lines, volumes, playing with r

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6

Haan, Joost, and Michel D. Ferrari. "Picasso’s migraine: Illusory cubist splitting or illusion?" Cephalalgia 31, no. 9 (2011): 1057–60. http://dx.doi.org/10.1177/0333102411406752.

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It is widely believed that Pablo Picasso suffered from migraine. The main cause for this is our suggestion made 10 years ago that some of Picasso’s paintings resemble migraine auras. Here we critically look back at our own hypothesis. We conclude that, although the idea is still fascinating, there is no proof of Picasso suffering from migraine with aura.

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7

Hutchinson, Rory. "A grieving process illustrated?" Medical Humanities 44, no. 1 (2016): 2–4. http://dx.doi.org/10.1136/medhum-2016-010874.

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The sudden death of Pablo Picasso's closest friend Carlos Casagemas in 1901 came as a great shock to the young Picasso. From a young age, Picasso had ruminated on life and death; however, this was his first experience of bereavement. Following the death of Casagemas, Picasso's paintings can be seen as a diary of his grieving process and clearly illustrate the five stages of the grieving process as outlined by Kubler-Ross in ‘On Death and Dying’ (1969).

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8

Labella Martínez, Antonio. "brujo Pablo Ruiz Picasso." Revista Eviterna, no. 14 (September 29, 2023): 108–25. http://dx.doi.org/10.24310/re.14.2023.17010.

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Este artículo es una investigación que pretende desvelar las posibles influencias del legado de Pablo Picasso en la producción artística de la contemporaneidad global. El estudio parte de la fascinación de Picasso por las figuras rituales de algunos pueblos que fueron colonias de las potencias europeas y su inicio como gran coleccionista de importantes piezas que nunca se separaron de su colección personal de obras de arte, tanto suyas como de otros maestros. A partir de su muerte, los objetos rituales pasan a formar parte del legado de Picasso que atesora el Museo Picasso de París y la inform

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9

Franco Carrión, Laura. "Pablo Picasso y la cinematografía." Boletín de Arte, no. 32-33 (March 8, 2018): 265–80. http://dx.doi.org/10.24310/bolarte.2012.v0i32-33.4270.

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Son diversos y amplios los campos en los que Pablo Picasso desarrolló su actividad artística. Conocidas son sus intervenciones en ámbitos diversos, incluidos la fotografía y el cine.En este caso, queremos dirigir la mirada hacia un campo aun no demasiado conocido en el que Pablo Picasso se desenvolvió y a través del cual pudo recibir influencias importantes para su propia producción artística. Nos estamos refiriendo a la relación entre Picasso y la cinematografía.

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10

Mallen, Enrique. "Pablo Picasso: In Search Of Language." Advances in Social Sciences Research Journal 10, no. 12 (2024): 459–70. http://dx.doi.org/10.14738/assrj.1012.16533.

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The article explores Picasso’s multiple influences early in his career as he searched for a language that best expressed his vision of reality. Already the first critics, such as Félicien Fagus for his first exhibition at Galerie Vollard, mentioned the impact on the young Spaniard of a wide range of modern painters in addition to the great classical masters. Many of the identifiable periods in his extensive career can be associated with one or more influential artists: Casas, Rusiñol, Steinlen, Munch during the Modernist years in Barcelona; Toulouse-Lautrec, Renoir, Degas, Van Gogh and others

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11

Mallen, Enrique. "Pablo Picasso: In Search of Language." International Journal of Culture and History 11, no. 1 (2024): 17. http://dx.doi.org/10.5296/ijch.v11i1.21701.

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The article explores Picasso’s multiple influences early in his career as he searched for a language that best expressed his vision of reality. Already the first critics, such as Félicien Fagus for his first exhibition at Galerie Vollard, mentioned the impact on the young Spaniard of a wide range of modern painters in addition to the great classical masters. Many of the identifiable periods in his extensive career can be associated with one or more influential artists: Casas, Rusiñol, Steinlen, Munch during the Modernist years in Barcelona; Toulouse-Lautrec, Renoir, Degas, Van Gogh and others

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12

Southgate, M. Therese. "Portrait of Pablo Picasso." JAMA 297, no. 19 (2007): 2055. http://dx.doi.org/10.1001/jama.297.19.2055.

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13

Saeid, Samaneh, and Laleh Atashi. "Vintage Ladies in Cubist Exhibitions: Pablo Picasso's Cubist Women and Judith Butler's Performativity." k@ta 22, no. 1 (2020): 28–35. http://dx.doi.org/10.9744/kata.22.1.28-35.

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As a prominent figure in the history of painting, Pablo Picasso has bestowed upon the world his uniquely striking paintings in different styles, the most revolutionary of which being his Cubist art. The representation of women occupies a significant space in Picasso’s Cubist works. While the painter’s style is highly revolutionary, rejecting the accepted principles of painting, the subject matter does not change as such: nude women are objectified with a cubist look. Judith Butler’s theory of gender performativity which examines the roots of naturalized concepts of gender, has been applied to

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14

Laura, Franco. "Primeras incursiones de Pablo Picasso en las nuevas Tecnologías de principios del siglo XX. El cinematógrafo de Barcelona como paradigma." ASRI. Arte y Sociedad. Revista de Investigación en Arte y Humanidades Digitales, no. 20 (December 22, 2021): 36–51. https://doi.org/10.5281/zenodo.7644542.

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A lo largo de este artículo nos acercaremos a las primeras incursiones de Pablo Picasso en las nuevas tecnologías de principios del siglo XX. Como ejemplo representativo de estos nuevos métodos tecnológicos de la época, analizaremos la relación que se estableció entre Pablo Picasso y el cine, a través del estudio concreto de los vínculos que se instauraron entre el artista y Cinematógrafo Napoleón de Barcelona, durante su juventud. A partir de aquí, valoraremos qué grado de influencia ejerció el c

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15

Mallen, Enrique. "Compositionality in Pablo Picassos Poetry." Advances in Humanities Research 3, no. 1 (2023): 1–20. http://dx.doi.org/10.54254/2753-7080/3/2023015.

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Pablo Picassos poetry expands the expressive power of language through syntactic mechanisms provided in natural grammar. His poems often consist of adjunct phrases, following a technique that recalls his cubist collages. The relation between the nuclei of those phrasal constituents as they come in contact remains open, so that readers are free to establish multidirectional semantic associations between them. His poetry is primarily word-oriented. As Picasso once stated, he wanted to compose his poems with a palette of words, leaving those words free to fight it out among themselves to attain a

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16

M. Muñiz Jr, Albert, Toby Norris, and Gary Alan Fine. "Marketing artistic careers: Pablo Picasso as brand manager." European Journal of Marketing 48, no. 1/2 (2014): 68–88. http://dx.doi.org/10.1108/ejm-01-2011-0019.

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Purpose – In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands. Design/methodology/approach – Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso. Findings – Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-af

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17

Suri, Ritika, and Ashhar Ali. "Coining the Pablo Picasso Syndrome." Headache: The Journal of Head and Face Pain 60, no. 3 (2020): 626–29. http://dx.doi.org/10.1111/head.13702.

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18

Korff-Sausse, Simone. "Gertrude Stein et Pablo Picasso." Le Carnet PSY N° 265, no. 8 (2023): 46. http://dx.doi.org/10.3917/lcp.265.0046.

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19

Vernier, Béatrice. "Écriture de soi et de l’autre: Récits de filiation et contestation chez Herzog et Picasso." Anales de Filología Francesa 27, no. 1 (2019): 385–400. http://dx.doi.org/10.6018/analesff.381211.

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Este articulo analiza como los autores Félicité Herzog y Marina Picasso refutan la imagen publica de su padre y abuello, el excepcional alpinista Maurice Herzog y el gran artista Pablo Picasso en dos ‘‘récits de filiation’’, Un héros y Grand-père. En primer lugar, demuestro que aunque sus acusaciones revelan un comportamiento cruel de estas figuras famosas con su familia, también le ayudan a comprender su sufrimiento durante su infancia. En segundo lugar, demuestro que ambos autores admiten que Maurice Herzog y Pablo Picasso eran victimas de su celebridad y por lo tanto los disculpan en parte.

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20

Rossetto, Tania Regina, and Nerli Nonato Ribeiro Mori. "GUERNICA: ANCORAGENS E OBJETIVAÇÕES." Revista Teias 17, no. 45 (2016): 203–17. http://dx.doi.org/10.12957/teias.2016.24604.

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Este estudo aborda o processo de ancoragem e objetivação centradas na Teoria das Representações Sociais de Serge Moscovici, utilizando a obra Guernica de Pablo Picasso. Para tanto, objetivamos: discorrer sobre ancoragem e objetivação; abordar vida e obra de Pablo Picasso; demonstrar por meio da obra Guernica como ações individuais emergem do social. Por meio de pesquisa teórica, explicitamos que ao abandonar convenções da arte histórica, Picasso busca a construção a partir da destruição. As cinzas da guerra proporcionam uma nova visão da realidade, o que remete a um futuro possível, visando o

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21

Miguel Fernández, Antonia. "Pável Filónov versus Pablo Ruiz Picasso." Revista Eviterna, no. 1 (February 26, 2020): 67–73. http://dx.doi.org/10.24310/eviternare.v1i1.8019.

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Aunque el título del artículo parece aludir a la oposición entre ambos artistas, el análisis de sus vidas y obra evidencia que, aunque sus figuras son en gran medida contrapuestas, también poseen características que los unen. No obstante, dados los límites del presente trabajo, sólo vamos a detenernos en tres cuestiones: la firma, su relación con las mujeres y los retratos de familia. No nos parece adecuado tratar la cuestión atendiendo a la importancia que la posición social o su origen oriental u occidental poseen en la producción artística de uno u otro, por una cuestión en la que están de

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22

NICHOLAS, ROBERT ROBINS, and TRURO. "Hands and the Artist—Pablo Picasso." Journal of Hand Surgery 15, no. 1 (1990): 131–34. http://dx.doi.org/10.1016/0266-7681_90_90071-b.

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23

Reeve, Charles. "Pablo Picasso and Gertrude Stein. Correspondence." European Journal of Life Writing 9 (June 12, 2020): R12—R16. http://dx.doi.org/10.21827/ejlw.9.36179.

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Fragmentation, dissection, explosion: how to characterize the most influentially innovative art—be it theatre, music, literature or painting—of the twentieth century’s first half depends on which artistic formation one has in view and how violent or deliberate one takes that formation to have been. Regardless, a splitting open, dismantling or weakening of the bonds between its constituent parts marked that moment’s culture, with Gertrude Stein and Pablo Picasso as two of that disintegrative impulse’s most influential proponents. Such history might well lead a reader to anticipate scintillating

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24

Alegría, Fernando. "Pablo Picasso, revolucionario de la pintura." Atenea (Concepción), no. 468 (June 1993): 199–211. http://dx.doi.org/10.29393/at468-13ppfa10013.

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25

ROBINS, N., and R. ROBINS. "Hands and the artist — Pablo Picasso." Journal of Hand Surgery: Journal of the British Society for Surgery of the Hand 15, no. 1 (1990): 131–34. http://dx.doi.org/10.1016/0266-7681(90)90071-b.

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Potter, Polyxeni. "Pablo Picasso (1881–1973). Guernica (1937)." Emerging Infectious Diseases 9, no. 6 (2003): 760–61. http://dx.doi.org/10.3201/eid0906.ac0906.

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27

Gandhi, Jagdeep Singh. "Pablo Picasso and Aspects of Medicine." American Journal of Medicine 126, no. 12 (2013): 1150–51. http://dx.doi.org/10.1016/j.amjmed.2013.07.042.

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28

Emery, Alan E. H. "Science and Charity by Pablo Picasso." Journal of the Royal College of Physicians of London 34, no. 5 (2000): 485. https://doi.org/10.1016/s0035-8819(25)01479-5.

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Elsebaey, Asmaa. "New cubism & Picasso to inspired interior design and furniture." International Journal of Basic and Applied Sciences 6, no. 4 (2017): 63. http://dx.doi.org/10.14419/ijbas.v6i4.8141.

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Pablo Ruiz Picasso is one of the best documented and one of the most influential artists of the twentieth century. During his life, he created more than 20,000 paintings and sculptures. Through his invention of forms and techniques, his exploration of space, and his experimentation, Picasso was the leader of an artistic revolution that reached not only painters and sculptors, but also authors, composers, and architects. Picasso begins to look at nature in terms of shapes like cones, spheres and cylinders. It was Picasso's literal translation of this advice that led to one of his most influenti

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Elcott, Noam M. "Kubism™: Picasso, Trademarks and Bouillon Cube." Arts 13, no. 1 (2024): 30. http://dx.doi.org/10.3390/arts13010030.

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Pablo Picasso’s Landscape with Billboards (1912) evinces a deep and complex relationship with emergent trademark and related intellectual property law in France. Among the three trademarked logos featured prominently in the work is that for Bouillon Kub. Critics, caricaturists, and the Cubists themselves toyed with the visual and textual rhymes between Cubism and Bouillon Kub. But only Picasso in his Landscape with Billboards engaged deeply with the nascent trademark and design protection laws exploited more forcefully by Bouillon Kub than nearly any other brand. This essay is a small part of

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31

Kang, Eunah. "Changes in Perception of Pablo Picasso in Korea." Journal of Korean Modern & Contemporary Art History 45 (July 31, 2023): 111–41. http://dx.doi.org/10.46834/jkmcah.2023.7.45.111.

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32

Salazar Jiménez, Pablo. "Arlequín. Una exposición para mirar y leer." Boletín de Arte, no. 41 (November 5, 2020): 370–73. http://dx.doi.org/10.24310/bolarte.2020.v41i.10622.

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El Museo Picasso Málaga ofrece en su página web Arlequín. Una exposición para mirar y leer, la primera muestra digital en la historia de la institución, dedicada a la presencia del personaje más popular de la Commedia dell’arte en la obra de Pablo Picasso.

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Sedykh, Oksana. "The Work of Pablo Picasso as a Subject of Russian Thought." Otechestvennaya Filosofiya 2, no. 3 (2024): 33. https://doi.org/10.21146/2949-3102-2024-2-3-33-54.

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The work of Pablo Picasso (1881–1973) represents the main stages in the development of the twentieth century art, during which it constantly became the subject of philosophers’ and art theorists’ attention. The article analyzes one of the first cases of philosophical reflection of the Picasso’s phenomenon. These are the reviews of Russian religious thinkers (S.N. Bulgakov, N.A. Berdyaev, P.A. Florensky), dating back to 1914 and representing a reaction to the paintings of the analytical cubism period (1909–1912). The purpose of the article is, firstly, to demonstrate the content of Russian thin

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34

Mallen, Enrique. "Fernande Olivier y el avance de Pablo Picasso al cubismo." Revista Eviterna, no. 14 (September 29, 2023): 146–60. http://dx.doi.org/10.24310/re.14.2023.16641.

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Marina Picasso escribió con respecto a la relación de su abuelo con sus compañeras que «las embrujaba, las digiría, y las plasmaba en sus lienzos» (Picasso, 2001, p. 180). Lo que no tomó en cuenta es el hecho que aquellas mujeres jugaron un papel vital en el proceso creativo del artista, a menudo estimulando grandes cambios en su carrera. Aunque no aprobamos de ninguna manera su comportamiento hacia el sexo opuesto, este artículo se concentra en el impacto crucial que una de sus primeras compañeras, Fernande Olivier, tuvo en su obra mientras Picasso avanzaba hacia el Cubismo. El estilo del art

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Calvo Manuel, Ana. "Reseña: Nuestra España La protección del tesoro artístico de España durante la guerra." Ge-conservacion 3 (December 14, 2012): 219–20. http://dx.doi.org/10.37558/gec.v3i0.131.

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Número extraordinario con un suplemento ilustrado y dos dibujos de Pablo Picasso, Director del Museo del Prado, hechos especialmente para el presente boletín. Comité Ibero Americano para la defensa de la República Española. Paris Col. Facsímiles de Revistas, Renacimiento, Sevilla, 2012. 21 págs., 8 ilustraciones y 2 láminas de Picasso

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Landete, Pierre. "Montrez-moi Guernica ! Lettre de Diego Velasquez à Pablo Picasso." Sigila N° 53, no. 1 (2024): 67–77. http://dx.doi.org/10.3917/sigila.053.0067.

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Une étoile filante est passée, au chaos du ciel… et, dans un rêve, Diego Vélasquez a écrit à Pablo Picasso pour dévoiler un secret. Le secret des Ménines . Il relit les mots tracés dans sa lettre avant de l’adresser… Il est assis sur le rebord d’une fontaine dans un patio. Résonnent quelques lointains accords de guitare… un filet d’eau, et la voix de Diego : … Qui a peint « Guernica » ? Pablo ? Qui ? À la fin de sa lettre, Vélasquez répond et nous fait découvrir, dissimulée au coeur de son tableau des Ménines , une vérité à laquelle seul Picasso avait eu accès…

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37

Kryger, Meir H., and Isabella Siegel. "Painting a dream: Le Rêve—Pablo Picasso." Sleep Health 3, no. 3 (2017): 134–35. http://dx.doi.org/10.1016/j.sleh.2017.02.005.

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38

Dominiczak, Marek H. "Pablo Picasso and the Universe of Art." Clinical Chemistry 58, no. 9 (2012): 1384–85. http://dx.doi.org/10.1373/clinchem.2012.182022.

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39

Stevenson, Deborah. "Just Behave, Pablo Picasso! (review)." Bulletin of the Center for Children's Books 65, no. 9 (2012): 486–87. http://dx.doi.org/10.1353/bcc.2012.0410.

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40

Zimmermann, Michael F. "Guernica de Pablo Picasso : la réception allemande." Histoire de l'art 80, no. 1 (2017): 149–65. https://doi.org/10.3406/hista.2017.3735.

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This essay, published for the first time in 2000, retraces the German discussion about Guernica, a painting that Picasso created and exhibited in 1937 in order to commemorate the victims of the Nazi bombardment of the small city in the Spanish Basque country in April 28, 1937. The painter relied on a highly personal iconogra-phy like the bull and the perishing horse, or anachronistic motifs such as the dying warrior who still holds the hilt of his broken sword in his hand. In the highly controversial post-war debate even the legitimacy of such a painting was questioned. Authors often polarize

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41

spiller, harley. "Cock-A-Doodle." Gastronomica 12, no. 1 (2012): 9–11. http://dx.doi.org/10.1525/gfc.2012.12.1.9.

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Art Historian Jed Perl's challenge to reveal a topic in the work of Pablo Picasso that hadn't been thoroughly covered results in “Cock-a-Doodle,” an analysis of the master's lifelong penchant for making art about poultry. Less glorious and known than the master's celebrated images of women and bullfights, birds intended for the dinner table are nonetheless a critical aspect of his oeuvre. For Picasso common birds were perfect tools for implying the elemental. He was not a gourmet. Food was less important for him as nourishment than as a mirror of the soul. Based on an eighty-five page analysis

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42

Goodarzparvari, Parnaz, Francisco Carlos Bueno Camejo, and Miguel Molina Alarcon. "From the Caspian sea to Alboran sea; an overview of the personality similarities between Bahman Mohasses and Pablo Picasso." Revista Sonda: Investigación y Docencia en Artes y Letras 10 (December 31, 2021): 187–202. http://dx.doi.org/10.4995/sonda.2021.17828.

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Bahman Mohasses is one of the artists who emphasize his unique personal art, style and look in creating his works, both in the field of painting and sculpture. He transcends the superficial and dramatic manifestations of modern schools and at the same time the outward manifestations of the Iranian visual tradition, and finds remarkable success in inventing his personal identity. Critics, friends and followers consider his work to be influenced by the most famous Spanish artist of the twentieth century, Pablo Picasso. Beyond technique and style, the influence of Picasso’s personality on him and

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43

Gutierrez-Peláez, Miguel. "Un arte con machete. Comentario sobre la obra de Alonso Jiménez." Avances en Psicología Latinoamericana 34, no. 1 (2016): 187. http://dx.doi.org/10.12804/revistas.urosario.edu.co/apl/a.4399.

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Con Alonso Jiménez hemos podido conversar sobre la anécdota que trae Umberto Eco a propósito del retrato que le realiza Pablo Picasso a la poeta estadunidense Gertrude Stein. Terminando el retrato, un observador lo increpa y le dice: “Perono se parece”, a lo que Picasso responde: “Pero se parecerá”. Hay múltiples efectos que se extraen de esta anécdota. Por un lado, el más evidente, es que nadie se acordará de cómo era Gertude Stein, pero todos podremos tener clara la imagen del retrato que hizo de ella Picasso.

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44

Franco Carrión, Laura. "primeras películas de los Lumière y el cubismo de Pablo Picasso." Revista Eviterna, no. 14 (September 29, 2023): 70–87. http://dx.doi.org/10.24310/re.14.2023.16967.

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En la investigación que se presenta a continuación, se analizan diversas conexiones halladas entre las primeras películas de los Hermanos Lumière y el movimiento cubista, tomando en este caso como objeto de estudio, específicamente el cubismo de Pablo Picasso , así como aquellos filmes de los Lumière considerados como los primeros documentales de la Historia del cine, fundadores del cine que a partir de entonces comenzó a denominarse como “realista”. Mediante este trabajo, intentaremos poner de manifiesto que existen diversos puntos en común entre el primer cine y el cubismo, examinando concre

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Rajko, Igić. "Pablo Neruda and Pablo Picasso at the Top of the art Pyramid." International Journal of Arts and Social Science 06, no. 02 (2023): 28–40. https://doi.org/10.5281/zenodo.7759515.

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The lives of Pablo Neruda and Pablo Picasso are briefly presented. Their creativity has the message of how we may better understand ourselves and the world around us and develop more humane relationships that will improve society. We have only one life and therefore we should choose the best and safest path that will lead us to the future. We cannot go backwards to make changes, so it's worth knowing what the great people advise us. It is not only the simultaneous death forty years ago, the Spanish cultural origin and the same first name of the two great men that unite them, they had ident

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Fernández Sanz, Alejandra. "Pablo Picasso: Evidencias musicales en su vida y obra." El Pájaro de Benín, no. 6 (2020): 152–87. http://dx.doi.org/10.12795/pajaro_benin.2020.i6.07.

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El presente artículo analiza los indicios musicales que pudieron existir en torno a la vida y obra de Pablo Picasso, en un período catalizador de disciplinas artísticas por excelencia como fueron las Vanguardias del siglo XX. Mediante el contraste crítico de datos objetivos recopilados por diversos investigadores se pretende dilucidar si la presencia de la música en el entorno picassiano derivó en una relación interdisciplinar, inspiracional y de retroalimentación entre musa y artista o, como él mismo defendió, nunca fue fuente de estímulo creativo.

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Morris, Gay. "Massine/Picasso/Parade." Modernist Cultures 9, no. 1 (2014): 46–61. http://dx.doi.org/10.3366/mod.2014.0073.

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This essay concerns Leonide Massine's choreography for the Ballets Russes production of Parade (1917). The ballet was groundbreaking in its incorporation of Cubist and Futurist innovations and for its vanguard collaborators, which included Erik Satie, Jean Cocteau, and Pablo Picasso. Massine was only twenty-one at the time, and his choreography has often been dismissed as inconsequential. I argue that Massine not only made a major contribution to the collaboration, but that his working methods and approach to choreography owed more to Cubism's reformist tendencies than to Futurism's call for a

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Azizov, Dilshod. "CERAMICS IN CERAMICS P. PICASO FROM THE COLLECTION OF THE STATE MUSEUM OF ARTS OF UZBEKISTAN." JOURNAL OF LOOK TO THE PAST 4, no. 6 (2021): 16–29. http://dx.doi.org/10.26739/2181-9599-2021-6-3.

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The works of P. Picasso in ceramics in the collection of the State Art Museum of Uzbekistan are among the masterpieces of the museum and are kept as priceless works. These works are one of the periods when the artist P. Picasso worked on clay.The Spanish artist, sculptor, graphic artist, ceramist and designer Pablo Picasso made a worthy contribution to the development of world art. He laid the foundations for Cubism by dividing objects into handicrafts and creating works of art from pieces, carved and three-dimensional on a flat surface. From the second half of the 1930s, the social status of

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Shirishkumar, Prabhudas Patel. "Comparative Analysis of Two Influential Artists Paul Klee and Pablo Picasso: Contrasting Artistic Philosophies and Legacies." Social Science Journal for Advanced Research 5, no. 1 (2025): 76–78. https://doi.org/10.5281/zenodo.14904385.

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This paper presents a comprehensive comparative analysis of two influential artists of the early 20th century, Paul Klee and Pablo Picasso. It explores their artistic philosophies, styles, mutual influences, themes, and legacies. While both artists significantly shaped modern art, their approaches diverged, reflecting contrasting sensibilities and artistic expressions. By examining their works in detail, this study aims to highlight the unique contributions of each artist to the art world and their lasting impact on subsequent generations. The early 20th century marked a transformative period

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González Alcantud, José Antonio. "Precisiones mediterráneas al debate orientalista: Pablo Picasso y Juan Goytisolo." Imago crítica. Revista de Antropología, Comunicación y Estudios Culturales, no. 7 (October 15, 2020): 21–32. https://doi.org/10.30827/ic.28471.

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A través de las figuras del artista Pablo Ruiz Picasso y del escritor Juan Goytisolo, y de sus respectivas producciones vinculadas al mundo mediterráneo, y en particular a Andalucía, el primero por nacimiento y el segundo por adopción, observamos la existencia de una particular relación con el orientalismo. Esta relación que el autor considera a la manera clásica ungenius loci, el genio del lugar, les hace ser antiorientalistas en su producción cuando esta se desplaza a problemas magrebíes derivados de la colonización. Sus ejemplos, de esta forma, inducen a pensar que frente al orientalismo do

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