Literatura académica sobre el tema "Pablo Picasso"
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Artículos de revistas sobre el tema "Pablo Picasso"
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Martori, Claudia. "Silence, Abuse, and Madness: Picasso in Jeanette Winterson's Art & Lies". Grove - Working Papers on English Studies 30 (30 de diciembre de 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 by the harmful context that she is surrounded by in the same way that occurred to Pablo Picasso’s lovers and to Bertha Mason in Jane Eyre.
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WITHERS, JOSEPHINE. "PABLO PICASSO". Art Book 1, n.º 3 (junio de 1994): 15a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00116.x.
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SOMERVILLE, ROSA. "PABLO PICASSO". Art Book 1, n.º 3 (junio de 1994): 22. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00143.x.
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Apele, Diāna. "THE CREATIVE INFLUENCE OF PABLO PICASSO ON THE WORKS OF LATVIAN ARTISTS". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (26 de mayo de 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 relations of dark and light and work's emotional atmosphere. Similarly, in the works of all three artists, the experiments with graphic forms and textures and virtuosic plays with relations of dark and lights and emotions are perceptible. Sharp sense of epoch, refined means of expression, depth of thinking, pictoriality, freedom of inspiration, nonconformity, intellectually difficult practice, lyrism, lightness and looseness, expressivity, spirituality – this is the common denominator of the artists – V. Ziediņš, R. Pinnis and A. Dembo. For all these prominent artists, Picasso’s creative work was not an object of imitation, but rather a launch pad to start acquiring the experience they were fascinated by. Research aim: to characterize creative work of the great Spanish artist Pablo Picasso and analyse his creative influence in the works of Latvian artists. Research methods: theoretical: the analysis of the study fields literature and internet resources.
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Haan, Joost y Michel D. Ferrari. "Picasso’s migraine: Illusory cubist splitting or illusion?" Cephalalgia 31, n.º 9 (13 de mayo de 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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Hutchinson, Rory. "A grieving process illustrated?" Medical Humanities 44, n.º 1 (10 de junio de 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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Labella Martínez, Antonio. "brujo Pablo Ruiz Picasso". Revista Eviterna, n.º 14 (29 de septiembre de 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 información de los mismos pasa a ser pública. Se han tomado tres importantes objetos rituales y se ha realizado un análisis sobre su geografía artística actual para conocer las posibles influencias de lo picassiano en los lenguajes de los artistas actuales como descendientes de los productores de los objetos rituales que coleccionó Picasso. Se han hallado en el análisis de los actores estudiados determinadas singularidades propias que va más allá de los centros tradicionales de producción europeo-americanas y están en consonancia con los lenguajes ligados a las corrientes de la creación artística global. Los intereses conceptuales de estos artistas muestran preocupaciones como en torno a lo femenino, los movimientos migratorios o la construcción de la identidad desde estrategias del ensamblaje simbólico que los une directamente con los postulados de Pablo Picasso.
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Mallen, Enrique. "Pablo Picasso: In Search Of Language". Advances in Social Sciences Research Journal 10, n.º 12 (20 de marzo de 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 in the first years in Paris; El Greco, Nonell, Puvis, among others during the Blue Period; Matisse, Redon, and others, in the Rose Period; Gauguin later on, etc., etc. These are just a few of the many artists whose styles Picasso explored in numerous ways. Their influence often occurred in complex combinations and would not fully disappear from his works once their incidence had left their imprint. Thus one can find the presence of El Greco or Van Gogh as late as the last years of Picasso’s life. Here we will focus on their influence in the period that preceded Cubism, Picasso’s first truly original language
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Mallen, Enrique. "Pablo Picasso: In Search of Language". International Journal of Culture and History 11, n.º 1 (20 de febrero de 2024): 17. http://dx.doi.org/10.5296/ijch.v11i1.21701.
Texto completoResumen
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 in the first years in Paris; El Greco, Nonell, Puvis, among others during the Blue Period; Matisse, Redon, and others, in the Rose Period; Gauguin later on, etc., etc. These are just a few of the many artists whose styles Picasso explored in numerous ways. Their influence often occurred in complex combinations and would not fully disappear from his works once their incidence had left their imprint. Thus one can find the presence of El Greco or Van Gogh as late as the last years of Picasso’s life. Here we will focus on their influence in the period that preceded Cubism, Picasso’s first truly original language.
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Southgate, M. Therese. "Portrait of Pablo Picasso". JAMA 297, n.º 19 (16 de mayo de 2007): 2055. http://dx.doi.org/10.1001/jama.297.19.2055.
Texto completoTesis sobre el tema "Pablo Picasso"
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Holloway, Memory Ann. "Pablo Picasso : Suite 347". Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306926.
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Immenga, Silke. "Picasso und Spanien : kulturelle Identität als Strategie /". Frankfurt am Main : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb39997042n.
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Patel, Parul Kanubhai. "PABLO PICASSO: THE SPANISH TRADITION OF BULLFIGHTING". Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1329236137.
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Utley, Gertje R. "Picasso : the communist years /". New Haven : Yale university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb376408294.
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Amrane, Malika. "Picasso et le mouvement". Paris 10, 2008. http://www.theses.fr/2008PA100135.
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L’expression du mouvement dans l’art est un problème ancien. Les discutions ne cessent de s’alimenter sur cette question. Depuis un demi-siècle, les artistes ont eu le mérite d’avoir compris qu’à la conception d’un monde statique se substitue peu à peu celle d’un monde dynamique. Mais si leur mérite est de l’avoir compris, leur gloire vient de ce qu’ils mettent tout en œuvre pour accorder notre conscience à la réalité. La peinture et la sculpture sont une invitation à découvrir les incroyables richesses du monde visible en faisant appel à notre participation active. Car dans les formes immobiles, c’est notre regard qui découvre les mouvements grâce aux significations que nous révèlent l’artiste certes, mais l’attitude du spectateur reste fondamentale dans la perception de la réalité visible d’une œuvre. Par sa longévité et sa richesse, le parcours de Pablo Picasso fait corps avec le XXème siècle. La présente thèse est centrée sur l’expression du mouvement dans ses peintures, ses sculptures et ses céramiques, cherchant à en souligner les spécificités et les facteurs de continuité à travers le temps. Comment un artiste peut-il rendre par une peinture ou une sculpture, œuvres statiques par excellence, une impression de mouvement ? Des œuvres de Picasso, il se dégage une énergie artistique, un puits de créativité et la recherche permanente et inconditionnelle d’une autonomie artistique. Et toutes ces qualités sont profondément imprégnées de sa personnalité. Les analyses plastiques ainsi que les données historiques et bibliographiques nous permettront de mettre en lumière les moyens utilisés par le maître pour exprimer visuellement le dynamisme, nourrissant ainsi sa pratique de l’art. Pratique qui nous amène à nous interroger sur l’apport particulier du mouvement en art et sur la perception qu’en a le spectateurThe expression of the movement in art is an old problem. Discussed do not cease feeding on this question. For one half-century, the artists have had the merit to have understood that the design of a static world little by little that of a dynamic world replaces. But if their merit is to have included/understood it, their glory comes from what they put all works about it to grant our conscience to reality. Painting and the sculpture are an invitation to discover the incredible richnesses of the visible world by calling upon our active participation. Because in the motionless forms, it is our glance which discovers the movements thanks to the significances that reveal certainly us the artist, but the attitude of the spectator remains fundamental in the perception of the visible reality of a work. By its longevity and its richness, the course of Pablo Picasso forms a unit with the XXème century. The present thesis is centered on the expression of the movement in its paintings, its sculptures and its ceramics, seeking to underline of them specificities and the factors of continuity through time. How an artist can return by a static painting or sculpture, works par excellence, an impression of movement? Works of Picasso, it releases an artistic energy, a well of creativity and the permanent and unconditional search for an artistic autonomy. And all these qualities are deeply impregnated of its personality. The plastic analyses as well as the historical and bibliographical data will enable us to clarify the means used by the Master to express the dynamism visually, thus nourishing its practice of art. Practical which leads us to question us on the particular contribution of the movement in art and on perception that the spectator has some
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Garcia, Simone Cristina [UNESP]. "A cerâmica de Pablo Picasso: a antiguidade mediterrânea revisitada". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157173.
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La thèse de maîtrise actuelle se réfère à l'œuvre céramique de l'artiste Pablo Picasso et sa relation avec l'Antiquité méditerranéenne. Il aborde la construction poétique des raisons qui ont conduit l'artiste à la poterie, son apprentissage, les boues, les fours et la technique utilisée, identifiant les éléments d'inspiration, les thèmes, les styles et le processus de création, les reliant au contexte social qui a influencé son travail. En identifiant les éléments, il a été remarqué qu'il a dialogué avec la poterie méditerranéenne traditionnelle, a innové et a sauvé les valeurs ancestrales et a ravivé les symboles et les mythes méditerranéens, les laissant "vivants". Tout son travail de la période de 1947 jusqu'à sa mort est un renouveau de l'Antiquité, et Picasso a influencé une génération d'artistes à produire de la poterie, et par sa réputation, l'art de l'argile, qualifié de "inférieur" par rapport aux Beaux-Arts, n'a jamais été le même.
A presente dissertação de mestrado refere-se a obra em cerâmica do artista Pablo Picasso e a sua relação com a Antiguidade Mediterrânea. Aborda a construção poética desde os motivos que levou o artista à cerâmica, o seu aprendizado, os barros, os fornos e a técnica utilizada, identificando os elementos de inspiração, os temas, estilos e o processo de criação, relacionando-os ao contexto social que influenciou seu trabalho. Ao identificar os elementos percebeu-se que Pablo Picasso enxergou na cerâmica uma forma de popularizar a sua arte, um desejo que nasceu após o seu envolvimento com a luta dos Republicanos na Guerra Civil Espanhola. Com esse propósito, ele dialogou com a cultura popular e a cerâmica tradicional mediterrânea, a inovou, resgatou os valores ancestrais e reviveu os símbolos e mitos mediterrâneos, deixando-os “vivos”. Toda sua obra do período de 1947 até a sua morte em 1973, é uma revisitação da Antiguidade e Picasso influenciou uma geração de artistas a produzirem cerâmica e através da sua reputação, a arte do barro, dita “inferior” em relação as Belas Artes, nunca mais foi a mesma.
The present Master's dissertation refers to the ceramic work of the artist Pablo Picasso and his relation with the Mediterranean Antiquity. It approaches the poetic construction from the reasons that took the artist to the pottery, its learning, the muds, the furnaces and the technique used, identifying the elements of inspiration, the themes, styles and the process of creation, relating them to the social context which influenced his work. In identifying the elements, it was noticed that he dialogued with the traditional Mediterranean pottery, innovated and rescued the ancestral values and revived the Mediterranean symbols and myths, leaving them "alive". His entire work from the period of 1947 until his death is a revival of antiquity, and Picasso influenced a generation of artists to produce pottery, and through his reputation, the art of clay, referred to as "inferior" in relation to Fine Arts, was never again the same.
La presente disertación de maestría se refiere a la obra en cerámica del artista Pablo Picasso y su relación con la Antigüedad Mediterránea. En el caso de la construcción poética desde los motivos que llevó al artista a la cerámica, su aprendizaje, los barros, los hornos y la técnica utilizada, identificando los elementos de inspiración, los temas, estilos y el proceso de creación, relacionándolos al contexto social que influenció su trabajo. Al identificar los elementos se percibió que él dialogó con la cerámica tradicional mediterránea, la innovó y rescató los valores ancestrales y revivió los símbolos y mitos mediterráneos, dejándolos "vivos". Toda su obra del período de 1947 hasta su muerte, es una revisión de la antigüedad, y Picasso influenció una generación de artistas a producir cerámica ya través de su reputación, el arte del barro, dicha "inferior" en relación a las Bellas Artes, nunca más fue la misma.
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Garcia, Simone Cristina 1981. "A cerâmica de Pablo Picasso : a antiguidade mediterrânea revisitada /". São Paulo, 2018. http://hdl.handle.net/11449/157173.
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Orientador(a): Geralda M. F. S. Dalglish (Lalada Dalglish)Resumo: A presente dissertação de mestrado refere-se a obra em cerâmica do artista Pablo Picasso e a sua relação com a Antiguidade Mediterrânea. Aborda a construção poética desde os motivos que levou o artista à cerâmica, o seu aprendizado, os barros, os fornos e a técnica utilizada, identificando os elementos de inspiração, os temas, estilos e o processo de criação, relacionando-os ao contexto social que influenciou seu trabalho. Ao identificar os elementos percebeu-se que Pablo Picasso enxergou na cerâmica uma forma de popularizar a sua arte, um desejo que nasceu após o seu envolvimento com a luta dos Republicanos na Guerra Civil Espanhola. Com esse propósito, ele dialogou com a cultura popular e a cerâmica tradicional mediterrânea, a inovou, resgatou os valores ancestrais e reviveu os símbolos e mitos mediterrâneos, deixando-os "vivos". Toda sua obra do período de 1947 até a sua morte em 1973, é uma revisitação da Antiguidade e Picasso influenciou uma geração de artistas a produzirem cerâmica e através da sua reputação, a arte do barro, dita "inferior" em relação as Belas Artes, nunca mais foi a mesma
Abstract: The present Master's dissertation refers to the ceramic work of the artist Pablo Picasso and his relation with the Mediterranean Antiquity. It approaches the poetic construction from the reasons that took the artist to the pottery, its learning, the muds, the furnaces and the technique used, identifying the elements of inspiration, the themes, styles and the process of creation, relating them to the social context which influenced his work. In identifying the elements, it was noticed that he dialogued with the traditional Mediterranean pottery, innovated and rescued the ancestral values and revived the Mediterranean symbols and myths, leaving them "alive". His entire work from the period of 1947 until his death is a revival of antiquity, and Picasso influenced a generation of artists to produce pottery, and through his reputation, the art of clay, referred to as "inferior" in relation to Fine Arts, was never again the same
Résumé: La thèse de maîtrise actuelle se réfère à l'œuvre céramique de l'artiste Pablo Picasso et sa relation avec l'Antiquité méditerranéenne. Il aborde la construction poétique des raisons qui ont conduit l'artiste à la poterie, son apprentissage, les boues, les fours et la technique utilisée, identifiant les éléments d'inspiration, les thèmes, les styles et le processus de création, les reliant au contexte social qui a influencé son travail. En identifiant les éléments, il a été remarqué qu'il a dialogué avec la poterie méditerranéenne traditionnelle, a innové et a sauvé les valeurs ancestrales et a ravivé les symboles et les mythes méditerranéens, les laissant "vivants". Tout son travail de la période de 1947 jusqu'à sa mort est un renouveau de l'Antiquité, et Picasso a influencé une génération d'artistes à produire de la poterie, et par sa réputation, l'art de l'argile, qualifié de "inférieur" par rapport aux Beaux-Arts, n'a jamais été le même
Resumen: La presente disertación de maestría se refiere a la obra en cerámica del artista Pablo Picasso y su relación con la Antigüedad Mediterránea. En el caso de la construcción poética desde los motivos que llevó al artista a la cerámica, su aprendizaje, los barros, los hornos y la técnica utilizada, identificando los elementos de inspiración, los temas, estilos y el proceso de creación, relacionándolos al contexto social que influenció su trabajo. Al identificar los elementos se percibió que él dialogó con la cerámica tradicional mediterránea, la innovó y rescató los valores ancestrales y revivió los símbolos y mitos mediterráneos, dejándolos "vivos". Toda su obra del período de 1947 hasta su muerte, es una revisión de la antigüedad, y Picasso influenció una generación de artistas a producir cerámica ya través de su reputación, el arte del barro, dicha "inferior" en relación a las Bellas Artes, nunca más fue la misma
Mestre
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D'Alessandro, Eliana Angélica Péres [UNESP]. "Visualidade e história em Guernica". Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/100274.
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dalessandro_eap_me_ia.pdf: 3215422 bytes, checksum: 2bdb0c90836b2a363d73f414aadb4bba (MD5)Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra.
Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.
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Irvine, Zoe (Laura). "Painting the war Picasso's genre works during the German Occupation of Paris /". Diss., Connect to the thesis, 2005. http://thesis.haverford.edu/112/01/2005IrvineZ.pdf.
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Twell, Mary Tudor. "The Influence of Flamenco on Selected Works of Picasso". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332484/.
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This thesis investigates, analyzes, and discusses Picasso's imagery in the cultural context of the nineteenth-century Spanish tradition of flamenco. Two published photographs featuring the elderly artist with the gypsy guitarist Manitas de Plata initiated the study, and led me to the conclusion that selected works by Picasso were influenced psychologically, thematically, and formally by his youth which was spent in the Andalusian province of Malaga and later in Barcelona. Picasso's early artistic education occurred at precisely the same time and place as The Golden Age of Flamenco in Spain, a cultural phenomenon that profoundly affected both his life and art.
Libros sobre el tema "Pablo Picasso"
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editor, Tega Eleonora, Tega Francesca editor y Galleria Tega, eds. Pablo Picasso. Milano - Italia: Tega arte moderna e contemporanea, 2018.
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1881-1973, Picasso Pablo y Museum of Modern Art (New York, N.Y.), eds. Pablo Picasso. New York: Museum of Modern Art, 2008.
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1881-1973, Picasso Pablo, ed. Pablo Picasso. Edina, Minn: ABDO Pub. Co., 2006.
Buscar texto completoCapítulos de libros sobre el tema "Pablo Picasso"
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Wild, Gerhard. "Picasso, Pablo". En Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13591-1.
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VanTassel-Baska, Joyce y Linda D. Avery. "Pablo Picasso". En Changing Tomorrow 2 Grades 6-8, 61–65. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003233619-16.
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Wilson, John. "Pablo Picasso". En The Faith of an Artist, 174–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003291282-16.
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Rißler-Pipka, Nanette. "Picasso, Pablo: Écrits". En Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13592-1.
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Hamilton, James W. "Pablo Picasso". En A Psychoanalytic Approach to Visual Artists, 71–82. Routledge, 2018. http://dx.doi.org/10.4324/9780429471452-4.
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"PABLO PICASSO". En Modern Sculpture, 47–50. University of California Press, 2022. http://dx.doi.org/10.2307/j.ctv2vr8v47.10.
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"Pablo Picasso". En The Modern Lovers' The Modern Lovers. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781501322211.ch-004.
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"Pablo Picasso". En Surrealist Painters and Poets. The MIT Press, 2001. http://dx.doi.org/10.7551/mitpress/6565.003.0067.
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"1936". En Pablo Picasso, 219–33. Liverpool University Press, 2019. http://dx.doi.org/10.2307/j.ctv30c9fgc.18.
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"1934". En Pablo Picasso, 187–202. Liverpool University Press, 2019. http://dx.doi.org/10.2307/j.ctv30c9fgc.16.
Texto completoActas de conferencias sobre el tema "Pablo Picasso"
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Otoch, Janaína Nagata. "Trama de olhares: notas sobre a representação da Celestina na obra de Pablo Picasso". En Encontro de História da Arte. Universidade Estadual de Campinas, 2017. http://dx.doi.org/10.20396/eha.12.2017.4531.
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Comecemos por um desenho do início da carreira de Pablo Picasso, El Portal (fig 1), publicado em 1901 em Arte Joven, uma revista de artes e literatura cujo diretor artístico era o próprio Picasso, um jovem de então 18 anos. De pronto, nos arrebata o olhar fulminante de uma mulher que abre a porta de um estabelecimento às escuras e nos encara de maneira fixa. 69, a inscrição fincada no canto superior direito do desenho, nos remete a um conteúdo erótico, a um ambiente de bordel.
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Costa, Luana Signorelli Faria da y Luis Henrique Garcia Ferreira. "Arte e inquietação: Joyce, Mann e Picasso". En Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4495.
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Esse trabalho tem por objetivo problematizar o romance de James Joyce, Finnegans Wake, de 1939, e José e seus irmãos de Thomas Mann, publicado entre 1933-1943, como criações cujas poéticas modernistas, além dos efeitos estéticos, geram um discurso de não aceitação, tal qual Guernica de Pablo Picasso, concluída em 1937. É possível visualizar as três criações como exemplos de arte-inquietação num horizonte em que há um avanço de ideologias totalitárias e no qual o modo de produção capitalista já está instrumentalizado pela indústria cultural, com seus efeitos de passividade e massificação sobre os receptores. Assim, a principal finalidade é mostrar que Guernica, José e seus irmãos e Finnegans Wake podem se enquadrar na ideia defendida por Adorno em sua Teoria estética (2016), a de que as obras de arte resistem ao jogo do valor de troca e propõem mudanças para o atual estado de coisas, por meio de uma linguagem enigmática e de uma perspectiva utópica.
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cristina garcia, simone. "CERÂMICAS PICASSIANAS: NOTAS SOBRE A EXPRESSIVIDADE INVENTIVA DE PABLO PICASSO ALÉM DA PINTURA". En 30º Encontro Nacional da ANPAP - (RE)EXISTÊNCIAS. ,: Even3, 2022. http://dx.doi.org/10.29327/30enanpap2021.368490.
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Piacenza, Luciana Bicalho. "O retrato de Suzanne Bloch: o período azul de Pablo Picasso da obra do MASP". En Encontro da História da Arte. Universidade Estadual de Campinas, 2005. http://dx.doi.org/10.20396/eha.1.2005.3605.
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Man Tin, Lai. "Generative Adversarial Network Algorithms in Art: Machine Vision in Generation of Collage Art". En 8th International Conference on Human Interaction and Emerging Technologies. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002778.
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The paper proposes artistic and computational approaches to investigate the ability of matching learning to synthesise and manipulate the image dataset into artwork creation. By using the Generative Adversarial Network (GAN), it is observed how the machine algorithms are able to learn artistic styles and manipulate relevant pictures to generate digital artifacts, in particular, the images generated through latent space interpolation. Referring to an artwork of Pablo Picasso, the paper also aims at observing the collages being generated by GAN in order to understand and compare the machine vision with human vision in collage and artwork creation. And finally, to explore the process of seeing through the phenomenology of embodiment, trying to understand how the objects could be visible to us through the machine and artificial intelligence without being "bodily involvement in the world".
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SMORZHEVSKA, Oksana. "NAIVE HAPPINESS OF MARIA PRIMACHENKO". En Proceedings of The Third International Scientific Conference “Happiness and Contemporary Society”. SPOLOM, 2022. http://dx.doi.org/10.31108/7.2022.42.
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Writer Irina Matsko calls art, faith and positive one of the Ukrainian values that influence the feeling of happiness. It is on these "three pillars" – art, faith and positive, that, in my opinion, the happiness of Maria Primachenko is formed. The aesthetics of naive art conveys the "spirit of the people", its attitude and it is a part of the national identity. Despite the worldwide fame, Maria Primachenko lived very modestly in the small village of Bolotnya, having experienced many hardships and losses. But at the same time, she always noted that she was a happy person. Her work amazed not only the audience at exhibitions in many cities around the world, but also Pablo Picasso, Marc Chagall. In terms of significance for world culture, the name of Maria Primachenko is inscribed on a par with the names of Henri Matisse, Henri Rousseau, Niko Pirosmani, Ivan Generalich. Key words: Maria Prymachenko, happiness, naive art
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Świt-Jankowska, Barbara. "Let’s play with Le Corbusier". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.891.
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Abstract: The research focuses on the possibility of transferring theoretical ideas of Le Corbusier into educational programs of the very young children – between three and six. The worldwide development of civilization changed the natural environment of the human. For the average European citizen a city is more natural place for living than a forest. Simultaneously, in these days many inhabitants present an extremely conformist approach to life and to the surrounding space. The participation of members of the society in the shaping of public spaces is possible only through the involvement and practice, but the democratic responsibility does not appears out of nowhere. It must be fostered and nurtured as early as in childhood. According to developmental psychology, children in the age of 3-6 are very susceptible to the acquisition of new skills and learn it in an intuitive way. The proper education program using Le Corbusier’s lectures and theory could help them to understand the space better. The seeming simplicity of above rules is an advantage in this case – thereby it can be explained to even such an audience as small children. On the other hand, some kind of abstract and hidden difficulty included in this theory becomes an opportunity to create a very absorbing and stimulating workshops that follow the needs of younger and older children. Le Corbusier’s legacy includes not only physical issues and can be used in many different ways. As Pablo Picasso once stated: every child is an artist, the problem is staying an artist when you grow up. For those reasons, incorporating such an innovative strategy for kids’ education reveals a great potential. Resumen: Los estudios realizados enfocan en comprobar las posibilidades de usar las ideas teóricas de Le Corbusier en los programas educativos para niños de tres a seis años. El desarrollo de la civilización ha cambiado el entorno natural del ser humano - una ciudad para el ciudadano promedio de Europa es un lugar más natural para vivir que el bosque. Al mismo tiempo, hay que reconocer que muchas personas muestran el enfoque muy conformista a la vida, tanto al espacio circundante. Esta situación se podría mejorar mediante la participación consciente de los miembros de la sociedad en la creación del espacio público, su compromiso y la práctica. Pero la responsabilidad democrática no aparece sola, se debe estimularla y nutrir ya en la infancia. De acuerdo con la psicología del desarrollo, los niños de 3 a 6 años son muy susceptibles a la adquisición de nuevas habilidades y aprenden de una manera intuitiva. Programa educativo que utiliza los cursos y la teoría de Le Corbusier puede ayudarles a entender mejor el medio ambiente. La aparente sencillez de los principios proclamados por él en este caso es una ventaja. La abstracción y escondidas dificultades incluidas en ellos,nos permiten a crear actividades estimulantes que correspondan a las necesidades de los niños pequeños, tanto y mayores. Como afirmo Pablo Picasso: "Todo niño es un artista. El problema es cómo mantenerse siendo niño una vez que se ha crecido". Keywords: Architectural education, children, Le Corbusier. Palabras clave: Enseñanza de la arquitectura, los niños, Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.891
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Arshad, Muhammad Farooq, Muhammad Adil Raja, Junaid Akhtar y Shams Ur Rahman. "Evolution of Mona Lisa with Pablo Picasso's paintings". En 2018 International Conference on Computing, Mathematics and Engineering Technologies (iCoMET). IEEE, 2018. http://dx.doi.org/10.1109/icomet.2018.8346366.
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Souza e Siila mmmmmmmmmm, Dalmo de Oliveira. "Cícero Dias: "eu vi o mundo" ... as luzes e as cores do nordeste". En Encontro de História da Arte. Universidade Estadual de Campinas, 2015. http://dx.doi.org/10.20396/eha.11.2015.4262.
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O texto discute o modernismo brasileiro a partir da trajetória de Cícero Dias, artista nascido num engenho da cidade Jundiá/PE. Grande parte de sua vida residiu em Paris, onde estabeleceu amizade com os pintores Henri Matisse, Picasso, Fernando Léger e o poeta Paul Éulard, porém, manteve em seu percurso estético os temas referentes à luz, às cores e à realidade nordestina, evidenciando um modernismo distinto ao desenvolvido no eixo Rio-São Paulo.
Informes sobre el tema "Pablo Picasso"
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Suite Vollard. Inter-American Development Bank, agosto de 1993. http://dx.doi.org/10.18235/0005947.
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