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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.
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Lodermeyer, Peter. "Transformationen des Stillebens in der nachkubistischen Malerei Pablo Picassos /". Münster : LIT, 1999. http://catalogue.bnf.fr/ark:/12148/cb376260247.
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PAIVA, CARMEN SILVIA MAIA DE. "LA CONSTRUCTION DU CORPS CHEZ PABLO PICASSO ET MARCEL DUCHAMP". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9129@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORFUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Cette recherche a pour but une réflexion sur l intersection entre corps et processus de création dans les parcours de Marcel Duchamp (1887-1968) et Pablo Picasso (1881-1973). Bien qu ils aient vécu le même moment historique, leurs travaux révèlent des conceptions distinctes de l art et indiquent différentes prises de positions sur les plans historique et culturel. Comme les processus de création opératoires qui structurent le travail artistique sont constitués par un ensemble de créations et de transferts de sens qui se constituent et se métamorphosent dans l action de chacun des artistes, cette étude est liée aux impasses et aux possibilités mises en place par les processus de civilisation et de modernisation. La métaphore du corps chez chacun de ces artistes indique des attitudes et des réflexions quant aux notions d adhésion ou de distance très particulières et fécondes pour comprendre l art et de la culture aujourd´hui. Ainsi, comme la formation du symbolique se réfère aussi à la façon dont les hommes s organisent matériellement et économiquement, ainsi qu à l analyse de leurs poétiques et de leurs stratégies diversifiées, nous examinerons surtout sur les conditions modernes du travail, c est à dire, la logique de l émancipation de la notion actuelle de travail et la séparation entre idéation et exécution, liées à l avènement et au déploiement de la modernité. Dans l ´uvre de Pablo Picasso, nous constatons la constitution d´un concept du corps comme métaphore et élaboration de l´espace comme réversibilité. La notion de métamorphose, l assimilation de certains principes constructifs de l art primitif et la relecture de l´histoire de l art élaborent un concept plus élastique de la représentation du corps. À ce mouvement dramatique de reconnecter le corps et l individu fracturés par la modernité à une notion impossible de totalité, Marcel Duchamp interpose un corps devenu marchandise et fragment. À la conception de l art chez Picasso, liée à la position de l homme emmêlé au langage corporel, Duchamp oppose la manifestation du décollement entre le langage et les choses como si telle était la condition elle-même de la création: un texte fracturé.
Esta pesquisa tem como tema uma reflexão sobre cruzamento entre corpo e processo criativo nos percursos de Marcel Duchamp (1887- 1968) e Pablo Picasso (1881-1973). Embora partilhem o mesmo período histórico, suas trajetórias de trabalho revelam distintas concepções de arte, bem como modos diversos de inserção nos domínios históricos e culturais. Como os procedimentos operatórios que estruturam os trabalhos artísticos se ligam a um conjunto de criações e de transferências de sentido que se constituem e se metamorfoseiam na ação de cada artista, este estudo encontra-se vinculado aos impasses e às possibilidades referentes aos processos civilizadores e de modernização. A metáfora do corpo em cada um dos artistas indica atitudes e reflexões quanto às noções de adesão ou distanciamento muito particulares e fecundas para a compreensão da situação da arte e da cultura hoje. Assim como a formação do simbólico também se refere ao modo como os homens se organizam material e economicamente, à análise das poéticas e estratégias diversificadas dos artistas em questão, uniremos o exame das condições do trabalho elaboradas quando do surgimento e desenvolvimento da modernidade, isto é, a lógica da emancipação da noção de trabalho e a separação entre ideação e execução.Tomamos por base o fato da obra de Pablo Picasso e sua noção de corpo fazer metáfora e constituir um espaço de reversibilidade. A partir da noção de metamorfose, da assimilação de princípios construtivos da arte primitiva e da releitura da história da arte, constatamos a elaboração de um conceito mais elástico de representação de corpo. A essa busca dramática de religar corpo e indivíduo fraturados a uma noção impossível de modernidade, Marcel Duchamp interpõe um corpo transformado em mercadoria e fragmento. À concepção de arte em Picasso, do indivíduo enredado à linguagem corporal, Duchamp contrapõe a manifestação do descolamento entre homem e linguagem como se esta fosse a própria condição da criação: a de um texto fraturado.
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Doss, Joy M. "Aesthetic revolutionaries : Picasso and Joyce". Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=379.
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Thesis (M.A.)--Marshall University, 2003.Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.
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Trimmer, Jason. "Iron dialogue the artistic collaboration of Pablo Picasso and Julio González /". Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1126898089.
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Finn, Clare. "The decorative metalwork of Pablo Picasso : his collaboration with François Hugo". Thesis, Royal College of Art, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565962.
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This study recounts the history of the collaboration between Pablo Picasso and François Hugo that resulted in the making of a series of platters and dishes or compotiers, vases and plaques in silver and iron and brass. It gives the work a context by discussing Picasso's life and the specific events immediately before the collaboration got underway, his predilection for collaborative work in the 19505 and early 19605, his opportunist tendencies, his early work in silver and gold as well as the circumstances of François Hugo's life before they collaborated. How the pieces were made and the manner in which technical problems were tackled are described in detail, as are aspects of both Hugo's and Picasso's lives that affected their work during this period. The true extent of Picasso's involvement in this work and the decision-making process is established, it also defines exactly which pieces he asked Hugo to make for him and in what order along with a great number of the working practicalities that relate to the running of the collaboration are also established. These include the nature and surprisingly large number of subcontracts involved, the wide geographical distances covered, how long Hugo took to make individual pieces, costings for the work and the financial arrangements made between Picasso and Hugo. The changes the collaboration brought about in Hugo's life are described, as are his attempts to publicise and exhibit the work he undertook for Picasso. The influence his own financial arrangements had on their work and its influence on the end of collaboration are examined and which pieces he made 'after' Picasso are established. The second part of the study examines Picasso's overall approach to the work and proposes motives for him undertaking it Comparisons are made between this collaboration and others he undertook both in sculpture and printmaking and it seeks to show what light this collaboration with Hugo sheds on Picasso's other artistic collaborations. The way he dealt with money in this collaboration is also looked at. The silver pieces are placed within the context of Picasso's oeuvre as a whole, and are linked to work contemporary with them, particularly to his ceramics, and to that produced over the rest of his career. Possible sources and underlying themes that Picasso addressed in the work are examined and his attitude to qualities inherent in silver and his approach to its display are discussed. This study is complemented by a fully illustrated catalogue raisonne, (in Vol. 3), and all the unpublished documentation relating directly to the collaboration are included, both in the original French and in English translation, in Appendix IIi & Iliii, Vol. 2. However, in the present stage of knowledge it is impossible to produce an equivalent catalogue raisonne for Picasso's jewellery.
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Silva, André Luiz Picolli da. "Eros, arte e desejo : compreensões sobre a obra de Pablo Picasso". reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24574.
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Tese (doutorado)—Universidade de Brasília, Instituto de Psicologia, Departamento de Psicologia Clínica, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2017.Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2017-07-14T15:15:42Z No. of bitstreams: 1 2017_AndreLuizPicollidaSilva.pdf: 4546873 bytes, checksum: 9ea279306555d064e3fbef91d72bc1d3 (MD5)
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De todas as construções humanas, a arte, talvez seja a que mais contribuiu para nos tornar humanos. No centro de toda cultura encontramos o impulso para criar objetos, interpretar cenas, produzir imagens, sons e movimentos, sendo os artistas, vistos como seres especiais, quase míticos. Um exemplo desse sentimento é o que encontramos em relação ao pintor espanhol Pablo Picasso (1881-1973), considerado como um dos principais artistas do período moderno e influenciador da estética contemporânea. Suas pinturas causaram um grande impacto na Europa e muita repercussão no resto do mundo, porém, a razão pela qual tantas pessoas ficaram fascinadas com as imagens por ele produzidas ainda é uma incógnita. Buscando compreender essa questão a partir de uma perspectiva psicanalítica, levanta-se a hipótese de que isso ocorreu devido a intensa manifestação de Eros sobre o artista, que produziu obras com fortes marcas dessa manifestação facilitando assim o processo de sublimação do público identificado com suas obras. Baseado nisso, o presente trabalho constitui-se em uma narrativa sobre a estética do desejo em Pablo Picasso, tendo por objetivo investigar a dinâmica inconsciente do artista por meio de sua produção, bem como, identificar de que modo sua obra se caracterizou também como um sintoma da cultura. Para tanto, foram realizadas observações de pinturas gravuras e desenhos do pintor que se encontram no acervo de museus da Espanha e do Brasil, bem como de obras que se encontram publicadas em literaturas específicas sobre a arte de Pablo Picasso. A partir disso, foram selecionadas algumas obras que, devido suas características, permitiam uma melhor observação da manifestação de Eros sobre o artista e, em seguida, foi realizada uma análise relacionando-se os elementos existentes nestas obras, a biografia do artista e conceitos da teoria psicanalítica. Posteriormente, visando uma melhor contextualização do fenômeno estudado, foram identificadas as principais características psicológicas da sociedade da época em que Picasso viveu, de modo a compreender em que medida ocorreram identificações entre a cultura e as produções do artista. Ao discutir os dados produzidos nesse processo constatou-se que a obra de Picasso apresentou uma grande mutabilidade ao longo do tempo devido as diversas formas de manifestação das pulsões do artista visando garantir a realização de desejos como: o desejo de liberdade, de querer mudar a realidade, de ser um objeto de amor e de querer controlar o outro. Tais manifestações, aliado ao alto grau de narcisismo encontrado na obra de Picasso, vão de encontro as principais características identificadas na sociedade em que que Picasso viveu, o que, dentro da narrativa produzida, confirma a ideia de que arte produzida por ele se configura em um sintoma da cultura. Por fim, concluiu-se o presente trabalho constatando que Picasso deu livre vazão as manifestações de Eros que sentia em si e, desse modo, construiu uma estética que reflete a realização de seus desejos narcisistas. Tal estética serviu como meio ideal para que indivíduos da sociedade moderna e contemporânea, identificados com sua obra, pudessem sublimar seus desejos com características semelhantes, razão pela qual entendemos, que tantas pessoas se fascinaram e ainda se fascinam pela obra de Pablo Picasso.
Of all human constructions, art may be the one that most contributed to make us human. At the center of every culture is the impulse to create objects, to interpret scenes, to produce images, sounds and movements, and the artists are seen as special beings, almost mythical. An example of this feeling is what we find in relation to the Spanish painter Pablo Picasso (1881-1973), considered as one of the main artists of the modern period and influential of contemporary aesthetics. His paintings have had a great impact on Europe and much repercussion in the rest of the world. However, the reason why so many people were fascinated with the images produced by him is still unknown. Seeking to understand this question from a psychoanalytical perspective, the hypothesis arises that this happened due to the intense manifestation of Eros on the artist, who produced works with strong marks of this manifestation facilitating the process of sublimation of the public identified with his works. Based on this, the present research constitutes a narrative about the aesthetics of the desire in Pablo Picasso, aiming to investigate the artist's unconscious dynamics through his production, as well as to identify in what way his work was also characterized as a symptom of the culture. To that end, observations were made of paintings of the painter's drawings and drawings found in the collection of museums in Spain and Brazil, as well as works that are published in specific literatures on the art of Pablo Picasso. From this, some works were selected which, due to their characteristics, allowed a better observation of the manifestation of Eros on the artist, and then an analysis was made relating the elements existing in these works, the artist's biography and psychoanalytic theory. Later, in order to better contextualize the studied phenomenon, the main psychological characteristics of the society of the time in which Picasso lived were identified, in order to understand to what extent identifications occurred between the culture and the artist 's productions. In discussing the data produced in this process it was found that the work of Picasso showed a great mutability over time due to the various forms of manifestation of the artist's drives in order to guarantee the fulfillment of desires such as: the desire for freedom, reality, of being an object of love and of wanting to control the other. These manifestations, together with the high degree of narcissism found in Picasso's work, go against the main characteristics identified in the society in which Picasso lived, which, within the narrative produced, confirms the idea that art produced by him is shaped by A symptom of culture. Finally, the present work was concluded, stating that Picasso gave free flow to the manifestations of Eros that he felt in himself and, in this way, constructed an aesthetic that reflects the fulfillment of his narcissistic desires. Such aesthetics served as an ideal means for individuals of modern and contemporary society, identified with their work, to sublimate their desires with similar characteristics, which is why we understand that so many people were fascinated and still fascinated by the work of Pablo Picasso.
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Trimmer, Jason. "Iron Dialogue: The Artistic Collaboration of Pablo Picasso and Julio Gonzalez". Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1126898089.
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Tortell, David. "Continuous interruption : Picasso, Pound, and the structures of collage". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26342.
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In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.
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Touret, Michel. "Les Ménines : un cas d'analyse par Picasso". Rennes 2, 1987. http://www.theses.fr/1987REN20027.
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Mise en relation d'oeuvres picturales entre elles, entre un tableau donné et un tableau fait d'après lui, l'analyse picturale est l'analyse d'une peinture par un peintre, avec des moyens picturaux. L'étude des caractéristiques de cette relation porte sur les Ménines de Picasso : celui-ci les peint d'après les Ménines de Vélasquez, et analyse "ses" Ménines en cinquante-sept tableaux consécutifs. A partir de cet ensemble unifié par l'activité du peintre se dégagent les rapports des tableaux entre eux et se dessine une loi interne de production, que Picasso modifie dans le temps. L'examen des thèmes morphologiques et iconiques met à jour la méthode de travail de Picasso, les principes mis en oeuvre et les conséquences de cette pratique; l'analyse oscille entre deux pôles: un pôle professionnel, qui privilégie les rapports entre tableaux au détriment des rapports du peintre avec ses tableaux: un pôle personnel qui insiste sur les rapports du peintre avec ses tableaux. Pour rendre l'analyse plus objective et privilégier les rapports entre tableaux, Picasso met en oeuvre une stratégie multiforme: il forge les allusions et des références à d'autres oeuvres, les siennes ou celles de grands peintres (Courbet, Goya, Rembrandt. . . ); il multiplie les dédicataires (Jacqueline, Pignon, Sabartes. . . ) Et organise l'histoire de "ses" Ménines selon des étapes d'exposition, de collection et de legs un musée. L'analyse picturale lui permet, par et au-delà d'une pratique, de prendre rang parmi ses pairs, du passé ou présent, dans une mutualité de peintres. La présente étude s'établit par et sur un va-et-vient entre textes et images des tableaux (photographie et croquis). Une lecture progressive mène à une explication de leurs rapports. On prend en compte les tableaux, leurs données premières, le moment de leur fabrication, de leur exposition, et, en complément, des tableaux et d'autres oeuvres de Picasso ou d'autres artistes, des textes qui éclairent sa pratique, et plus spécifiquement celle qu'il adopte pour "ses" MéninesPictorial analysis connects relations between one picture and another made according to it: it is an analysis of a painting made by a painter with pictorial means. This study of these relations concerns Picasso’s Meninas: he painted las Meninas according to Velasquez' ones and made an analysis of his own picture through fifteen-seven successive pictures. From this series, unified by his activity, relations give out and a law of production emerges. Picasso's working method is being discovered, so are the principles he put in play and the consequences of this practice; the analysis halts between two poles: a professional one which points at relations between paintings, indifferent to relations between the painter and his painting, - a person alone which insists on relations between them. As to make his analysis more objective, Picasso planed a multiform strategy: he fabricates allusions and references to other paintings and works, his proper ones or great painters’ ones. He produced large numbers of dedications, organized the story of his Meninas through exhibition, collection and legacy to a museum. This pictorial analysis warrants him by a practice and, beyond a practice, to get a good standing among his past or present peers in a mutual society of painters. This study, by a progressive reading of the pictures, conducts to an explanation of the relations the weave and call. So to do, we paintings, their basis, the moment of their elaboration and further, out of a serie, Picasso’s paintings and works; we examine too others artists' works and writings in order to explain Picasso’s general practice and more precisely the typical one he planed for his Meninas
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Theil, Harald. "Bild und Gefäß Studien zu den Gefäßkeramiken Pablo Picassos /". [S.l. : s.n.], 2006. http://nbn-resolving.de/urn:nbn:de:bsz:16-opus-85643.
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Lecomte, Renée. "Etude topologique quantitative de la répartition des formes et des couleurs dans quelques tableaux de Picasso". Paris 1, 1990. http://www.theses.fr/1990PA010627.
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Une étude statistique portant sur 29 tableaux de Picasso démontre la permanence d'un certain nombre de caractères : équilibre de la composition par la distribution des aires colorées : le barycentre des aires pondérées se situe au centre géométrique du cadre. (Les coefficients de pondération employés sont le coefficient de luminance, les coordonnées chromatiques c. I. E. De la couleur). Les "apports" r. V. B. Sont de même ordre avec une tendance décroissante du "vert", au profit du "bleu", en fonction du temps. Les formes sont géométriques simples, sans préférence réelle, sinon pour le quadrangle. Les frontières sont souvent rectilignes. Les arcs courbes, volontiers situes dans la moitie supérieure du tableau, sont centrés à l'intérieur du cadre. Avec les années, le format augmente, le choix des formes et des couleurs se simplifieStatistical analysis of 29 Picasso's painting leads to some genaral conclusions : balance is based uppon colored shapes distribution ; barycenter of weighted shapes is at the center of the frame (weights are luminance and c. I. E. Coordinates). R. G. B. Componants have the same importance. All shapes are simple geometrical ones. Most of the lines are rectilinear ; curved lines have their curvature center located inside the frame, most of the time on the upper half part years going on, Picasso's choices lead to larger side of frame and simplest colors and shapes
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Hooser, Marisa Jones. "The language of art : a conversation between Henri Matisse and Pablo Picasso /". Electronic version of thesis, 2001. http://www.marshall.edu/edt/masters/hooser-marisa-2001-ma.pdf.
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McKinzey, Joan C. (Joan Connie). "Conversations with the Master: Picasso's Dialogues with Velazquez". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277908/.
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This thesis investigates the significance of Pablo Picasso's lifelong appropriation
of formal elements from paintings by Diego Velazquez. Selected paintings and drawings
by Picasso are examined and shown to refer to works by the seventeenth-century Spanish master.
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Michaël, Androula. "Le temps et l'espace dans les écrits de Picasso". Paris 1, 1997. http://www.theses.fr/1997PA010594.
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Cette thèse aborde le temps et l'espace dans les écrits littéraires de Picasso tant du point de vue de la structure du texte et du manuscrit que du point de vue thématique. Picasso procède souvent par addition en faisant proliférer son texte, qu'il reprend sur des supports différents en des temps de Genèse différents. La reprise constitue un mode privilégie de création qui s'avère chez Picasso une force créatrice qui apporte la différence. Picasso abolit les règles de grammaire et de syntaxe préétablies et opère une "destruction de la langue" dans la langue. Nous pouvons qualifier cette écriture de "rhizome", (Deleuze et Guattari). En effet elle a pour principe l'expansion et la variation, le refus de la linéarité au profit de la discontinuité. D'une manière générale, son écriture est reliée à ses préoccupations de peintre qui remontent aux papiers colles et au cubisme, et notamment à la réflexion sur la nature et le fonctionnement des signes, sur le lisible et le visible. Quant à l'espace, il se présente comme un univers fini, ramené telle une substance organique à l'état d'un comestible. Il y a une labilité entre les divers espaces ainsi qu'une permutation des substances. Le corps = espace d'assimilation de l'extérieur vers l'intérieur = participe à toute une série de transformations et devient animal ou végétal. Le présent constitue le temps triomphant. L'instant s'élargit pour contenir une multiplicité d'évènements, grâce à une "intentionnalité longitudinale", qui contracte dans le présent toutes les dimensions du temps vécu. Nous assistons à une tension entre le temps cosmique et le temps vécu, exprimée d'une part à travers une omniprésence du temps calendaire que Picasso ne cesse d'indiquer, et d'autre part à travers une abolition de ses mesuresThe focus of this thesis is the notion of time and space in Picasso's litterary writings, examined from the standpoint of the structure of the text and the manuscript, as well as from that of the thematic. Picasso often proceeds by aggregation, systematically multiplying his texts, and constantly "extending" them onton other supports, each such extension or ramification marking a new beginning. One of his preferred methods of creation is "repetition", source of the creative force whiche gives his work the stamp of originality. He does away pre-established grammatical and syntactical rules, thereby operating a "destruction of language" within language. To borrow Deleuze and Guattari's expression, we can qualify such a writing style as "rhizome". Its principle consists of expansion and variation on the one hand ; on the other, the refusal of unilinearity in favour of disontinuity. In general, Picasso's writing is linked to his preoccupations as a painter (particularly the cubist and "collage" periods), and his reflections on the nature and fonctionning of signs, the visible and readable. Space, in his treatment of the subject, presents itself as a completed universe, and which is reduced like an organic substance to an edible state. Between the various spaces exists both fluidity and a permutation of substances. The body - a space of incorporation of the external by the internal - partakes of an entire series of transformations, acquiring an animal or vegetal character to finish with. The present denotes triumphant temporality. The moment, through a "longitudinal intentionnality", spreads itself out to embrace a mutiplicity of events, thus condensing within the present every dimension of "lived experiece" (vecu). We witness a tension between cosmic time and "lived experience" which is expressed on one side by the omnipresence of calendar time, and on the other by an elimination of its referece points
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Prudente, Joana Vasconcellos. "O búfalo e o olhar avesso da imagem : Clarice Lispector e Pablo Picasso". reponame:Repositório Institucional da UnB, 2006. http://repositorio.unb.br/handle/10482/6354.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2006.Submitted by mariana castro (nanacastro0107@hotmail.com) on 2009-09-24T20:19:12Z No. of bitstreams: 1 2006_Joana Vasconcellos Prudente.pdf: 7939210 bytes, checksum: 9e990cfcd81809685bd848c8d4a845d2 (MD5)
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A dissertação aborda a questão do olhar a partir do entrecruzamento do conto "O Búfalo", de Clarice Lispector, e algumas obras de Pablo Picasso e de Man Ray. O conto - defrontado às obras e analisado a luz de conceitos psicanalíticos de pulsão escópica (Freud e Lacan) e da teoria e crítica da arte - guia o trabalho, que é elaborado à maneira de uma rede de comentários. Neste texto, Lispector traça uma parábola da desmontagem do olhar estruturado perspectivamente e da ultrapassagem da questão da forma em oposição seja ao conteúdo, seja à matéria - que é paralela à desestruturação promovida pela arte moderna, aqui representada por Picasso e Man Ray. As obras destes se relacionam ao texto de duas maneiras: por analogia entre algumas de suas representações de touros e minotauros e o búfalo que dá nome ao conto; e por sua pertinência à discussão sobre o informe. Resulta desta amarração uma apreensão o olhar clivado pelo desejo e não mais unilateral: um olhar que, ao destacar-se daquele que vê, olha-o. A arte, tanto imagética, quanto textual, aparece como estratégia sobretudo de cegamento, que esconde ao invés de mostrar, revelando o que constitui o visível.
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Miraucourt, Julie. "Pablo Picasso face à la littérature française : de Michel Leiris à André Malraux". Dijon, 2008. http://www.theses.fr/2008DIJOL013.
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Pablo Picasso a entretenu des liens très intimes avec la littérature française représentées par les poètes du Bateau-Lavoir ou les surréalistes. Il est donc intéressant d’analyser – du point de vue du peintre- la nature de ces amitiés et quels avantages Picasso a pu en tirer. En outre, ces dernières permettent de comprendre l’interaction qui existe entre ces deux domaines. Toutefois, cette étude est axée sur les relations du peintre avec deux écrivains français : Michel Leiris et André Malraux. Ce qui met en évidence l’idée de « génération » : les deux écrivains sont nés la même année à Paris, puis les trois artistes subissent les mêmes influences et ont des centres d’intérêts communsPablo Picasso maintained bonds of friendship with french literature, I. E with poets from the “Bateau-Lavoir” or members of surrealism. It is then very interesting to analyse – from the painter’s point of view – the nature of these friendships and how efficient they have been on Picasso’s life. Besides, they give the opportunity to understand interction between these two fields of expression. However, this study is based on the relationship between the painter and two french writers : Michel Leiris and André Malraux. It focusses on the notion of “genereation” both writers were borned the same year in Paris, then the three artists will be under the same influence and share points of interest
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Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
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Luc-Grangé, Virginie. "Portrait de Michel Leiris par André Masson, Pablo Picasso, Alberto Giacometti et Francis Bacon. ." Paris 4, 1990. http://www.theses.fr/1990PA040407.
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Кисленко, К. Д. "Проектування колекції жіночого одягу із застосуванням авторського принта на основі творчої спадщини Pablo Picasso". Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7591.
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Parvu, Ileana. "Débordements : les constructions cubistes de Picasso et l'art du XXe siècle". Paris, EHESS, 2002. http://www.theses.fr/2002EHES0062.
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Les changements survenus dans l'art du XXe siècle se cristalliseraient autour de l'abandon des domaines de la peinture et de la sculpture. La structure qui, depuis la Renaissance jusqu'à la fin du XIXe siècle, canalisait la production artistique et y maintenait un certain ordre, commence à perdre de son actualité vers 1910. L'absence d'un système valable de classification pose un problème d'identité pour les œuvres qui ne s'ancrent plus dans un domaine particulier. Dans la mesure où celles-ci ne relèvent ni de la peinture ni de la sculpture, il devient difficile de les dénommer. Ce problème est traité à l'aide d'un cas exemplaire : les objets tridimensionnels exécutés par Picasso entre 1912 et 1915. S'il est impossible de leur assigner une place dans la structure existante et donc de trouver un terme adéquat pour les désigner, du moins peut-on tenter de les décrire. Le moyen de la description et, plus particulièrement, de l'analyse formelle a non seulement servi à mettre en évidence et à véritablement rendre visible le processus de constitution de ces objets, mais il a également permis d'éclairer certains aspects des transformations de la peinture et de la sculpture au XXe siècleChanges that occurred in XXth century art could be outlined by the departure from the realms of painting and sculpture. The structure that since the Renaissance until the end of the nineteenth century channelled the artistic production and maintained a certain order, starts to lose its relevance around 1910. The absence of a valid system of classification raises the question in regard to the identity of works which are no longer anchored in a specific realm. Provided that these do not belong either to painting nor to sculpture, it becomes difficult to name them. This problem is studied with the following case: three-dimensional objects made by Picasso between 1912 and 1915. If it is impossible to assign them a place in the existing structure and consequently to find an adequate term to designate them, at least one can attempt to describe them. The means of description and, more specifically, of formal analysis has helped not only to underscore and to indeed make visible the process of forming these objects, but has allowed equally to reveal in some respect how painting and sculpture transformed throughout the XXth century
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Ullmann, Ludwig. "Der Krieg im Werk Picassos : Reaktionen auf Krieg und Verfolgung /". Osnabrück : [L. Ullmann], 1986. http://catalogue.bnf.fr/ark:/12148/cb34981238m.
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Khawanda, Batoul. "L'oeuvre céramique de Picasso : technique, édition, esthétique". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2029.
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Cette thèse porte sur l’oeuvre céramique de Picasso réalisé entre 1947 et 1971 en collaboration avec l’atelier Madoura à Vallauris. Il s’agit d’une étude détaillée des motifs, des approches et des principes qui expliquent le choix de l’artiste de développer cette pratique. Afin d’élargir l’accès à son oeuvre céramique, Picasso permet la reproduction d’une partie de ses créations.Cette entreprise correspond à un projet social qui voit le jour dans le contexte socio-politique de l’après-guerre marqué par son adhésion au Parti communiste français. La thèse évoque la question de l’édition sous ses différents aspects en expliquant pourquoi l’artiste avait choisi ce processus et jusqu’à quel point il l’a développé, d’une part en autorisant l’édition de ses céramiques en série limitée, et d’autre part en réalisant des dons et des legs à différentes institutions muséales. Dans la première partie, une étude contextuelle et historique montre comment s’accomplissent les premières collaborations entre artistes et céramistes de la fin duXIXe siècle jusqu’au premier quart du XXe siècle. Suit une présentation des débuts de Picasso dans le monde de la céramique puis de sa collaboration avec les Ramié à Vallauris. La deuxième partie expose d’une façon précise les techniques, les sources d’inspiration et les thèmes employés par Picasso pour réaliser ses céramiques. Quant à la troisième partie, elle situe tout d’abord l’oeuvre céramique dans le contexte politique et social de l’après-guerre, puis envisage les liens possibles entre son choix de réaliser des céramiques, son adhésion au PCF et l’ambition d’atteindre un large public. Enfin, l’oeuvre céramique de Picasso estcomparée à celle d’autres artistes afin de montrer les différents modèles de collaboration entre artistes et céramistesThis thesis is about the ceramic work of Picasso realized between 1947 and 1971 in collaboration with the workshop Madoura in Vallauris. It is a detailed study of the reasons, approaches and principles that explain the choice of the artist to develop this practice. To expand access to his ceramic work, Picasso allows the reproduction of some of his creations. This venture is a social project that was born in the socio-political context of the post-war marked by joining the French Communist Party. This thesis evokes the issue of publishing in its various aspects by explaining why the artist chose this process and how far he developed it, on one hand by authorizing the edition of his ceramics in limited series, and on the other hand by making donations and bequests to different museum institutions. In the first part, a contextual and historical study shows how the first collaborations between artists andceramists that take place from the end of the 19th century to the first quarter of the 20th century. This is followed by a presentation of Picasso’s beginnings in the world of ceramics and his collaboration with Ramié in Vallauris. The second part shows in a precise way the techniques, the sources of inspiration and the themes used by Picasso to realize his ceramics. As for the third part, it first places the ceramic work in the political and social context of the post-war period, and then considers the possible links between its choice to make ceramics, its adherence to the PCF and the ambition to reach a wide audience. Finally, the ceramic work of Picasso is compared to that of other artists to show the different models of collaboration between artists and ceramists
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Matsui, Hiromi. "L'architectonique cubiste du corps : les schémas anatomiques chez Picasso et Raymond Duchamp-Villon, 1907-1918". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100038.
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Cette étude se focalise sur l’examen conjoint des représentations du corps dans les œuvres de Pablo Picasso et de Raymond Duchamp-Villon. Afin d’apporter un éclairage nouveau sur la représentation du corps cubiste, notre objectif est d’examiner la portée de la connaissance de l’anatomie artistique, branche scientifique se rapportant non seulement à l’anatomie (au sens plus spécifique de l’ostéologie et de la myologie) mais aussi à l’étude de la proportion humaine, à la physiologie, la physionomie, l’ethnologie, l’anthropologie et la morphologie. En élaborant une nouvelle interprétation des images cubistes qui la relierait à la fois à la science anatomique et au classicisme dans le cadre de l’histoire de l’art, notre recherche ouvre une étude morphologique du cubisme à de multiples disciplines, comme l’esthétique et l’épistémologie. Si la recherche picturale de Picasso porte sur la structure du corps humain, Duchamp-Villon cherche pour sa part à représenter le dynamisme et la vitalité du corps. En d’autres termes, en partant des mêmes savoirs scientifiques ces deux artistes proposent deux modalités différentes de l’architectonique de la représentation du corps : se dispensant de théoriser cette architectonique, Picasso et Duchamp-Villon découvrent une expression du corps qui leur est propre. Par ce biais, nous cherchons à mettre en lumière les modalités par lesquelles le schéma cubiste se forme dans l’oscillation entre art et sciences, intuition et intelligence, subjectivité et objectivité, métamorphose organique des images et modélisation mécanique du corpsThis study focuses on the analyses of the representations of the human body in the works of Pablo Picasso and Raymond Duchamp-Villon during their cubist periods. In order to shed some new light on the representation of the body in the cubist works of these two artists, the importance and the modality of the artistic anatomy is examined. This includes branches of science related not only to the anatomy (specifically osteology and myology), but also to the study of human proportion to the physiology, physiognomy, ethnology, anthropology, and morphology. Developing a new interpretation of Cubist images that is linked both with anatomical science and classicism in art historical context, this research corresponds to a morphological study of Cubism in multiple disciplines, such as aesthetics and epistemology. In particular, this study's aim is to consider two different forms of architectonic representation of the cubist body, starting from the same scientific knowledge. If research of Picasso is concerned mostly with the structure of the human body, Duchamp-Villon's seeks the dynamism and vitality of the body: far from axiomatizing scientific knowledge, the two artists rectify it in their own way to discover their unique expressions. Through this, the method by which the cubist pattern is formed in the oscillation between art and science is clarified, between: intuition and intelligence; subjectivity and the objectivity; and organic metamorphosis of images and the schematization of the mechanical body
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Sibelius, Sydney. "El Cómic y Lo Cómico: Cómo Pablo Picasso Denuncia a Francisco Franco con 18 Imágenes". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1132.
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This thesis analyzes the 18 etchings made by Pablo Picasso in his folio titled Sueño y mentira de Franco created in 1937. It examines their role in condemning Francisco Franco during the Spanish Civil War and how Picasso used his art to make a political statement. Additionally, the roles that humor and satire, gender, the comic strip style, and language play in the piece are discussed in regards to the effectiveness of the overall work.
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Siegelin, Dorothée. "Picassos Stierkämpfe im Kontext surrealistischer Diskussionen um Mythos und Stierkampf /". München : Kyrill & Method Verl, 1990. http://catalogue.bnf.fr/ark:/12148/cb357413156.
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Piacenza, Luciana Bicalho. "Os anos formativos de Picasso nas obras do MASP : Retrato de Suzanne Bloch, Toalete e o Atleta". [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279113.
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Orientador : Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O trabalho propõe um estudo dos anos formativos do artista Pablo Picasso, presentes nas três obras pré-cubistas pertencentes ao MASP: Retrato de Suzanne Bloch, Toalete e O Atleta. O estudo da obra Retrato de Suzanne Bloch, de 1904, volta-se para os interesses de Picasso após o abandono do aprendizado acadêmico, sua convivência com o meio artístico de Barcelona e a crítica desse meio e do próprio Picasso à arte acadêmica e à sociedade industrial. O estudo dos anos de 1905 e 1906 e da obra Toalete centra-se na transformação pela qual passa a obra de Picasso com o contato com as obras fauvistas e com meios artísticos que reclamam o retorno, da arte e da cultura, à herança mediterrânea da França e da Catalunha. A análise da obra de Picasso a partir do outono de 1906 leva aos interesses do artista presentes na obra O Atleta, do verão de 1909, um outro momento de trabalho na Espanha, em Horta de San Juan. Verifica-se a transformação do estilo no contato com a arte ibérica primitiva e com a arte tribal, e o novo impulso da crítica de Picasso à arte tradicional e à sociedade burguesa. Enfoca-se ainda o interesse de Picasso pela arte de Cézanne no contato com a obra de Georges Braque, observando as particularidades das obras dos dois artistas no período anterior ao Cubismo
Abstract: A study about Pablo Picasso' s formative years in the three pre-cubists works belonged to the Museu de Arte de São Paulo Assis Chateaubriand (MASP): Retrato de Suzanne Bloch (portraite of Suzanne Bloch), Toalete (Toilette) and O Atleta (The Athlete). The study of the painting Retrato de Suzanne Bloch, 1904, turns to Picasso's interests after leaving the academic training, his familiarity with Barcelona' s artistic circle and their critic to the academic art and industrial society. The study ofthe years 1905 and 1906 and ofthe Toalete is centered on the transformation which Picasso' s works goes through, after his contact with thefauves' work and with artistic circles that claims the french and catalan mediterranean heritages in art and culture. The study of Picasso's work from the auturnn of 1906 until the moment that O Atleta was painted, in the summer of 1909, observes the changes of the style after the artist' s contact with iberian primitive art and tribal art, and Picasso' s critic to the traditional art and to the bourgeois society. Focus is given to Picasso's contact with Georges Braque and after that a new interest for Cezanne's art
Mestrado
Mestre em História
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Nervegna, Mattia. "Pablo Picasso y el cubismo di Rafael Jackson: Proposta di traduzione di un album illustrato per bambini". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21351/.
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Il presente elaborato finale presenta l'analisi e la proposta di traduzione dell'albo illustrato per bambini intitolato Pablo Picasso y el cubismo di Rafael Jackson. L’elaborato sarà strutturato in tre parti. La prima parte è composta dall’analisi del testo di partenza ed è divisa in ulteriori paragrafi, partendo da una scheda tecnica del libro in cui verranno fornite le informazioni imprescindibili sull’autore, l'illustratrice e la casa editrice Anaya Infantil y Juvenil. Successivamente, si prenderanno in considerazione gli elementi paratestuali dell’albo, approfondendo l’analisi di alcune delle illustrazioni create da Maria Espluga. Inoltre, si tratteranno il genere di appartenenza del testo, la storia, la trama, i personaggi, partendo dai più importanti e finendo con le cosiddette comparse, il tempo della storia e gli anni in cui si svolge, quindi e il luogo in cui si narrano le vicende, per poi finire con lo stile dell'autore. La seconda parte è completamente dedicata alla proposta di traduzione divisa seguendo l’ordine del libro in capitoli identici a quelli del testo di partenza. Infine, la terza ed ultima parte sarà dedicata al commento alla traduzione, in cui verranno indicati i principali problemi riscontati e le strategie adottate per risolverli.
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Gustafsson, Frida. "Picasso möter Duchamp : En narratologisk undersökning av performativitet, positionering och värdering i Moderna Museets katalogtexter". Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104909.
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I denna uppsats undersöks katalogtexter producerade eller reproducerade av Moderna Museet i Stockholm om Pablo Picasso och Marcel Duchamp. Texterna undersöks, med utgångspunkt i museets egna påstående att konstnärerna ofta utmålas som varandras motsatser, ur ett narratologiskt perspektiv. Förekomsten av argumenterande passager, performativa yttranden, textagentens positionering samt värdering av konstnärskapen undersöks och en jämförelse görs mellan katalogerna och de två konstnärskapen. Undersökningen syftar till att ge en ingång till en förståelse för hur katalogtexter genom en aktiv narration skapar en normerande bild av konstnärskap.
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Asalia, Nour. "La fragilité dans la sculpture contemporaine : réflexions théoriques et expérimentations artistiques à partir de Marcel Duchamp et Pablo Picasso". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080076.
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La fragilité est une notion importante dans la sculpture contemporaine. Cette thèse s’interroge sur ses aspects chez deux des plus influents artistes de l'histoire de l'art au XXe siècle : Pablo Picasso et Marcel Duchamp. Nous nous interrogeons dans ce sens sur les facteurs qui ont favorisé l’avènement de la fragilité dans leurs pratiques : contexte historique, traditions populaires revisitées par la modernité, évolution du regard porté sur les matériaux, pratiques artistiques novatrices, contraintes et techniques de conservation. Notre recherche aborde bien entendu la question de la fragilité/la vanité de l’être humain que nous traitons dans les champs historique et philosophique – à travers ses dimensions esthétique, philosophique et spirituelle – mais dans les champs du sacré et de la science à partir du corps et de la mémoire tels que nous les observons se manifester dans le champ artistique. Pour montrer la prégnance de ce qui nous paraît relever du concept de fragilité, tel que nous l’aurons auparavant défini chez Duchamp et Picasso et des formes qu’il revêt, nous nous appuyons sur leurs œuvres en verre et papier. Notre étude analyse ces œuvres tant à travers le concept de fragilité qui s’y déploie qu’à l’aune de leur matérialité. Par ailleurs, l’usage des matériaux fragiles amène les artistes à privilégier certaines techniques qui ont pour objectif de protéger et d’assurer la conservation de leur travail : un tel processus aboutit au nouage serré, voire parfois inextricable, de leur démarche artistique et de leur pratique. Les modes de conservation de l’œuvre fragile constituent donc également l’un des axes de notre thèse. ---Pour finir, nous présentons notre propre pratique artistique, nourrie de notre approche de la fragilité et, bien sûr, de toutes les œuvres et références que nous aurons étudiées tout au long de notre rechercheFragility is an important notion in contemporary sculpture. This thesis examines its aspects in two of the most influential artists in the history of art in the 20th century: Pablo Picasso and Marcel Duchamp. In this sense, we question the factors that have favored the advent of fragility in their practices: historical context, popular traditions revisited by modernity, changes in the way we look at materials, innovative artistic practices, constraints and conservation techniques. Our research of course addresses the question of the fragility/vanity of the human being that we deal with in the historical and philosophical fields - through its aesthetic, philosophical and spiritual dimensions - but in the fields of the sacred and of science from of body and memory as we observe them manifesting themselves in the artistic field. To show the significance of what seems to us to fall under the concept of fragility, as we have previously defined it with Duchamp and Picasso and the forms it takes, we rely on their works in glass and paper. Our study analyzes these works both through the concept of fragility that unfolds there and in terms of their materiality. Furthermore, the use of fragile materials leads artists to favor certain techniques whose objective is to protect and ensure the conservation of their work: such a process results in the tight, even sometimes inextricable knotting of their artistic approach and their practice. The modes of conservation of the fragile work therefore also constitute one of the axes of our thesis. ___Finally, we present our own artistic practice, nourished by our approach to fragility and, of course, by all the works and references that we will have studied throughout our research
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El, Sokary Ibrahim. "L'illusion plastique et son intérêt au service de l'espace théâtral à travers les oeuvres de Picasso et Dali". Paris 8, 2001. http://www.theses.fr/2001PA082113.
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Le problème de la composition scénique n'est pas en contradiction avec les grandes questions du théâtre et de l'art en général. En effet, la scène théâtrale est le lieu où tous les effets et toutes les spécialités artistiques peuvent trouver place afin de créer un espace de représentation. La magie de ce dernier est le résultat du mélange de plusieurs expressions artistiques. Cette recherche a pour but de fixer les moyens plastiques utilisés dans une surface bidimensionnelle et montrer comment les dépasser pour en créer d'autres permettant la réalisation de tableaux scéniques de surface tridimensionnelle. Dans cette direction, nous prenons deux exemples. Le premier est celui de Picasso, le père du mouvement cubiste, avec sa philosophie de la déformation et le deuxième est celui de Dali, le surréaliste et sa paranoi͏̈a critique
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Mori, Fabiana Miano [UNESP]. "A construção da imagem em O Espelho in Primeira estórias de João Guimarães Rosa e em Las meninas de Pablo Picasso". Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/91576.
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O trabalho intitulado A construção da imagem em O Espelho in Primeiras Estórias de João Guimarães Rosa e em Las Meninas de Pablo Picasso foi desenvolvido com o objetivo de analisar semioticamente as obras O Espelho, conto presente na coletânea Primeiras Estórias de João Guimarães Rosa, e Las Meninas, tela de Pablo Picasso, cujo ponto de partida foi a obra de mesmo nome do artista barroco Diego Velázquez, e, diante dessa análise, teoricamente embasada, pontuar uma possível intersecção entre ambos os textos, já que pertencem claramente ao campo da interdiscursividade. Verificou-se que a linguagem plástica, usada por Pablo Picasso, pintor do século XX, distancia-se dos elementos plásticos barrocos seiscentistas, havendo, em ambos os textos, uma oposição clara aos princípios clássicos. O Ator-pintor, presente nas telas cubista e barroca, simboliza a própria Arte que, apesar do transcorrer do tempo físico, é atemporal. Com relação ao conto, o jogo incessante de palavras, rimas internas, entre outros elementos, pontua o barroquismo frásico rosiano e, além de demarcar o ponto central da coletânea de Primeiras Estórias, questiona a forma e a existência da imagem em suas diversas maneiras de entendê-la. Sendo o “espelho-tempo-imagem” o principal ponto de intersecção entre textoverbal e texto-visual nesta análise, é ele que desencadeia o despir das formas no conto rosiano e as anamorfoses no retrato de Picasso, que é o Outro em relação à obra velazquiana, questão proposta e trabalhada ao longo deste estudo. O elemento “espelho-tempo-imagem”, que propõe a discussão sobre diferentes relações, entre as quais o enunciado Arte e a enunciação pressuposta (enunciador e leitor/espectador) gera um caminho de duplo sentido, mobilizando, por sua vez, esta dissertação.
This paper entitled The construction of the image in João Guimarães Rosa’s O Espelho in Primeiras Estórias and in Pablo Picasso’s Las Meninas was developed with the purpose of semiotically analyzing the works O Espelho, a short story present in João Guimarães Rosa’s Primeiras Estórias and Pablo Picasso’s painting Las Meninas, whose starting point was the baroque artist Diego Velázquez’s painting that has the same name, and from this analysis, theoretically based, to point out a possible intersection between both texts, since they clearly belong to the field of interdiscursiveness. It was verified that the plastic language used by Pablo Picasso, a twentieth century painter, distances itself from the sixteenth century baroque plastic elements, and there is in both texts a clear opposition to the classical principles. The author-painter, present in the cubist and baroque paintings, symbolizes Art itself which, in spite of the elapse of physical time, is atemporal. In relation to the short story, the incessant game of words, internal rhymes and other elements punctuates Guimarães Rosa’s phrasal baroqueness and, besides demarcating the central point of the collection Primeiras Estórias, questions the form and existence of the image in the diverse ways it can be understood. Since the “mirror-time-image” is the main point of intersection between the verbal text and the visual text in this analysis, it is what initiates the undressing of the forms in Guimarães Rosa’s short story and the anamorphoses in Picasso’s painting, which is the Other in relation to Velasquez’s work – a point that is proposed and worked throughout this study. The element “mirror-time-image”, which proposes the discussion regarding different relations, among them the enunciate Art and the presupposed enunciation (enunciator and reader/spectator), generates a path of double sense which, in its turn, mobilizes this dissertation.
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Mori, Fabiana Miano. "A construção da imagem em O Espelho in Primeira estórias de João Guimarães Rosa e em Las meninas de Pablo Picasso /". Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/91576.
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Orientador: Maria de Lourdes Ortiz Gandini BaldanResumo: O trabalho intitulado A construção da imagem em O Espelho in Primeiras Estórias de João Guimarães Rosa e em Las Meninas de Pablo Picasso foi desenvolvido com o objetivo de analisar semioticamente as obras O Espelho, conto presente na coletânea Primeiras Estórias de João Guimarães Rosa, e Las Meninas, tela de Pablo Picasso, cujo ponto de partida foi a obra de mesmo nome do artista barroco Diego Velázquez, e, diante dessa análise, teoricamente embasada, pontuar uma possível intersecção entre ambos os textos, já que pertencem claramente ao campo da interdiscursividade. Verificou-se que a linguagem plástica, usada por Pablo Picasso, pintor do século XX, distancia-se dos elementos plásticos barrocos seiscentistas, havendo, em ambos os textos, uma oposição clara aos princípios clássicos. O Ator-pintor, presente nas telas cubista e barroca, simboliza a própria Arte que, apesar do transcorrer do tempo físico, é atemporal. Com relação ao conto, o jogo incessante de palavras, rimas internas, entre outros elementos, pontua o barroquismo frásico rosiano e, além de demarcar o ponto central da coletânea de Primeiras Estórias, questiona a forma e a existência da imagem em suas diversas maneiras de entendê-la. Sendo o "espelho-tempo-imagem" o principal ponto de intersecção entre textoverbal e texto-visual nesta análise, é ele que desencadeia o despir das formas no conto rosiano e as anamorfoses no retrato de Picasso, que é o Outro em relação à obra velazquiana, questão proposta e trabalhada ao longo deste estudo. O elemento "espelho-tempo-imagem", que propõe a discussão sobre diferentes relações, entre as quais o enunciado Arte e a enunciação pressuposta (enunciador e leitor/espectador) gera um caminho de duplo sentido, mobilizando, por sua vez, esta dissertação.
Abstract: This paper entitled The construction of the image in João Guimarães Rosa's O Espelho in Primeiras Estórias and in Pablo Picasso's Las Meninas was developed with the purpose of semiotically analyzing the works O Espelho, a short story present in João Guimarães Rosa's Primeiras Estórias and Pablo Picasso's painting Las Meninas, whose starting point was the baroque artist Diego Velázquez's painting that has the same name, and from this analysis, theoretically based, to point out a possible intersection between both texts, since they clearly belong to the field of interdiscursiveness. It was verified that the plastic language used by Pablo Picasso, a twentieth century painter, distances itself from the sixteenth century baroque plastic elements, and there is in both texts a clear opposition to the classical principles. The author-painter, present in the cubist and baroque paintings, symbolizes Art itself which, in spite of the elapse of physical time, is atemporal. In relation to the short story, the incessant game of words, internal rhymes and other elements punctuates Guimarães Rosa's phrasal baroqueness and, besides demarcating the central point of the collection Primeiras Estórias, questions the form and existence of the image in the diverse ways it can be understood. Since the "mirror-time-image" is the main point of intersection between the verbal text and the visual text in this analysis, it is what initiates the undressing of the forms in Guimarães Rosa's short story and the anamorphoses in Picasso's painting, which is the Other in relation to Velasquez's work - a point that is proposed and worked throughout this study. The element "mirror-time-image", which proposes the discussion regarding different relations, among them the enunciate Art and the presupposed enunciation (enunciator and reader/spectator), generates a path of double sense which, in its turn, mobilizes this dissertation.
Mestre
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Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art". Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.
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The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
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Pahl, Brenton. "From Ancient Greece to Surrealism: The Changing Faces of the Minotaur". Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511613466777073.
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Perron, Katia. "La structure spatiale des oeuvres cubistes de Picasso et Braque de 1910 et 1911". Master's thesis, Université Laval, 1992. http://hdl.handle.net/20.500.11794/33496.
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Cette recherche vise à développer quatre aspects particuliers qui concernent le cubisme de Braque et Picasso. D’abord quels ont été les faits marquants du cubisme au moment de sa naissance à travers les critiques du français Louis Vauxcelles. Puis, pour mieux saisir le mouvement, une synthèse des nombreuses définitions avancées par les critiques et les historiens d’art durant tout le 20e siècle, constituera la base d’une tentative de redéfinition globale du cubisme en sa phase analytique. On souligne ensuite l’importance de la réflexion cubiste en s’arrêtant à la modification de la représentation picturale par la décomposition de l’objet sur une surface plane qui aboutit sous l’empire de l’hermétisme à une nouvelle structure spatiale mettant alors l’accent sur la dissolution de l’objet et de la figure humaine. Finalement, l’analyse sémiotique de deux œuvres clés de Picasso et Braque de 1910 et 1911 permet de cerner plastiquement la notion même de réalisme que l’on trouve dans cette période analytique la plus hermétique.Montréal Trigonix inc. 2018
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Lavest-Bonnard, Audrey. "Proposition pour une analyse de la création chez Schönberg et Picasso : musique, peinture, psychanalyse". Paris 4, 2008. http://www.theses.fr/2008PA040198.
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Cette thèse propose de mettre en comparaison musique et peinture à travers l'analyse de l'acte créateur chez Schönberg et Picasso. Nos hypothèses s'appuient sur la description des trois phases de la création par le psychologue Anton Ehrenzweig dans son ouvrage "L'ordre caché de l'art" et sur le fonctionnement du travail de rêve explicité dans "L'interprétation du rêve" de Sigmund Freud. Ainsi, nous comparons d'une part, l'évolution de la création de Schönberg et de Picasso - notamment les courants cubiste et dodécaphonique sériel - en fonction des quantités d'élaborations primaire et secondaire entrant en jeu dans les mécanismes psychiques de la création. D'autre part, nous montrons l'impact que ces processus primaires et secondaires peut avoir sur les matériaux choisis pour exprimer leur intentions artistiques, ces processus variant tout au long de l'existence créatrice. Les mécanismes du travail de rêve permettent d'apporter un nouvel éclairage sur l'organisation de la structure interne de l'œuvre d’art moderne, tout en contournant les tentatives controversées d'équivalence entre les artsThis thesis proposes to compare music and painting through an analysis of the creative act as expressed by Schönberg and Picasso. Our hypotheses are based on the description of the three phases of creativity by the psychologist Anton Ehrenzweig in his work The hidden order of art and on the functioning of the dream work as set forth in Sigmund Freud’s The interpretation of dreams. We thus first compare how Schönberg and Picasso's creativity evolved - notably the Cubist and serial dodecaphonic movements - according to the extent of the first and secondary elaborations coming into play in the creative psychic mechanisms. Secondly, we show the impact that these primary and secondary processes can have on the materials chosen to express their artistic intentions, these processes varying throughout the creative life. The dream work mechanisms allow new light to be shed on the organisation of the internal structure of works of modern art, while circumventing controversial attempts to establish equivalence between the arts
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Jelen, Janette Marie. "The Woman as Vessel: A Correlation of the Treatment of the Female Form in the Ceramic Work of Pablo Picasso and Rudy Autio". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392738572.
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Harbec, Jacinthe 1955. "Parade : les influences cubistes sur la composition musicale d'Erik Satie". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63792.
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Kent, Hannah. "Silver Linings Sketchbook: An Analysis of the Benefits of Using Creative Processes to Turn Psychological Disorder and Trauma into Art". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1268.
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This senior thesis will primarily investigate artistic creativity, its relationship to psychological well-being and the power of the creative process to help harmonize internal tensions caused by either mental disorders or former traumas. I will accomplish this, first by offering a brief explanation of the evolution of creative thought, followed by various scientific explorations and theories of the connection between varying mental states and creation. I will support these findings with an analysis of the lives and works created by the painters Vincent Van Gogh, Pablo Picasso, and Frida Kahlo, all subjects of public speculation about the state of their mental health and its impact on their work. This analysis will consider the creative process as a form of psychotherapy. I will conclude by sharing a personal examination of my own history with mental health and trauma and my representation of these experiences and my ability to overcome these events in my paintings for this senior project.
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Boncompte, Coll Concepción. "Iconografía picassiana entre 1905-1907. Influencia de la pintura pompeyana". Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/2015.
Texto completoResumen
El objetivo de la tesis es demostrar la influencia de la pintura pompeyana en la obra realizada por Picasso entre 1905 y 1907. Influencia que se apoya en el entorno picassiano y en el arte románico catalán a partir de Gósol.El origen de esta tesis se encuentra en los cursos que impartí en la Universidad Ramon Llull (2005-2006). La doble faceta de pintora e historiadora del arte me permitió aportar a los alumnos la experiencia del pintor además de la del historiador. En las clases insistía en la independencia del lenguaje pictórico y estimulaba la búsqueda de todos los cuadros que están detrás de un cuadro. En este sentido, mostraba "La toilette" y el "Pastor con cesto" de Gósol junto a sus modelos pompeyanos. Mi discrepancia con la historiografía (vincula "La toilette" y "El harén" con el "Baño turco" de Ingres) así como la nueva luz que aportaban los parámetros interpretativos pompeyanos sobre el trabajo realizado por Picasso en esta época y la ausencia de investigaciones acerca de la influencia de la pintura pompeyana en la picassiana durante estos años, me decidieron a centrar mi tesis en esta temática.
Las lagunas y errores detectados en el estado de la cuestión, me aportaron la seguridad de que la superficialidad con la que se habían estudiado las obras de este ciclo había comportado una simplificación de las mismas y comprendí que podían superarse muchas de las ideas vertidas por la historiografía sobre esta época.
Fijación del período: el impacto causado por la venta de los frescos de Boscoreale en París (1903) liberó y canalizó los intereses de Picasso por la pintura pompeyana y el mundo panhelénico. Puede rastrearse la huella de la influencia pompeyana siguiendo las trazas del rojo cinabrio en las composiciones picassianas desde finales de 1904. Comienzo La investigación con "Desnudo sentado" (1905) donde, Picasso, reproduce el cromatismo pompeyano (tierras, rojizos), la apariencia del fresco y adapta la postura de Madelaine a un modelo pompeyano. Cierro la investigación con "Las señoritas" puesto que en este cuadro el artista culmina el diálogo mantenido desde 1905 con la pintura pompeyana y las religiones paganas.
El riguroso proceso analítico me ha conducido al interpretativo y este estricto método me ha facilitado respuesta a la pregunta inicial ¿De qué manera ha incidido la pintura pompeyana en la obra picassiana? Pudiendo resolver el enigma desde antes de Gósol hasta "Las señoritas".
Principales conclusiones:
1- Los modelos pompeyanos son vehículo para la representación de un proyecto filosófico-mágico-religioso y plástico: la búsqueda del desarrollo espiritual, el conocimiento y la inmortalidad según pautas de las antiguas religiones mistéricas.
2- Importancia del esoterismo y opio.
3- Rojos, rosas, tierras, ocres y azules proceden de la paleta pompeyana. La transición de la época azul a la rosa viene determinada por la paulatina introducción del rojo cinabrio pompeyano.
4- El retrato de Circe ("La mallorquina") inaugura las representaciones del viaje al Hades.
5- "Kouroi" y niñitos simbolizan el estado en el que se accede y se sale del Hades.
6- "La toilette" y "El harén" representan la iniciación de Fernande.
7- Introducción del concepto de "templo-burdel" de "diosa-prostituta".
8- Introducción del concepto de "bodegón votivo".
9- Eclosión de la influencia pompeyana en Gósol. Traducción del primitivismo ambiental. Fusión conceptual e iconográfica de modelos pompeyanos y románicos.
10- El románico proporciona a Picasso la máscara de la divinidad. Los retratos gosolanos de Fernande no son inexpresivos sino divinos: Ceres, Venus...
11- Desarrollo de un sistema personal de símbolos mediante objetos cotidianos. Fusión de liturgia pagana y cristiana.
12- La búsqueda del equilibrio por saltimbanquis y acróbatas es una metáfora del trabajo de equilibrio realizado por el iniciado.
13- Las señoritas es una gran teofanía pagano-cristiana en la que Picasso (artista y sacerdote) revela los misterios mediante los cuales lo mortales, como él, revivirán la experiencia de Baco y alcanzarán la unidad superior.
En "Las señoritas", Picasso replantea la antigua función sagrada del sexo. Posiblemente, el problema más grave con el que se ha enfrentado su interpretación ha sido la focalización del sexo como mecánica prostibularia. Esta asociación quizás no ha permitido a la crítica entender el sexo como lo exponía Picasso, como algo sagrado y salvaje al mismo tiempo, uniendo animalidad y misticismo en un único escenario.
"PICASSO'S ICONOGRAPHY BETWEEN 1905 AND 1907. THE INFLUENCE OF POMPEIAN PAINTING".
By Conxita Boncompte Coll.
TEXT:
The objective of the thesis is to demonstrate the influence of Pompeian painting on the work Picasso produced between 1905 and 1907, an influence that was supported by Picasso's milieu and his experience of Catalan Romanesque from his stay in Gósol.
The source of my thesis lies in courses I taught at the Ramon Llull University (2005-2006). My dual facets of painter and art historian meant that I could bring my students my experience as a painter as well as a historian. In my classes I insisted on the independence of all pictorial language by encouraging a search for all the pictures that lie behind a picture. I therefore showed "La Toilette" and "Shepherd with Basket" from Gósol alongside their Pompeian models. It was my discrepancy with historiography (which links "La Toilette" and "The Harem" with Ingres' "The Turkish Bath"), as well as the new light thrown by Pompeian interpretative parameters on Picasso's work of the period, and the absence of research on Pompeian painting and its influence on Picasso's work during these years, that decided me to centre my thesis on this issue.
Gaps and errors that I detected in the state of the art convinced me that the superficiality with which the works of this period had been studied had drawn a veil of banality over them, and I realised that many of the ideas employed by historiography on the period required a re-reading.
Establishing the period: the impact caused by the sale of the Boscoreale frescos in Paris (1903) awakened and shaped Picasso's interest in Pompeian painting and the Panhellenic world. This Pompeian influence can be tracked by following the traces of cinnabar red in Picasso's compositions from late 1904 onwards. The research begins with the "Seated Nude" (1905) where Picasso reproduces Pompeian chromatism (earths, reddish shades), the appearance of the fresco, and adapts "Madelaine'"s posture to the Pompeian model. It ends with the "Les Demoiselles d'Avignon", the picture with which the artist culminates his dialogue, maintained since 1905, with Pompeian painting and the pagan religions.
This rigour of the analytical process has led the process of interpretation, and the strict method followed has allowed me to find
answers to the questions I set myself at the outset - about the influence of Pompeian painting on Picasso's work - and resolve the enigma from before Gósol to the "Les Demoiselles".
Key findings:
1- Pompeian models are a vehicle for presenting a philosophical-magic-religious and plastic project: the search for spiritual development, knowledge and immortality based on the ancient mysteric religions.
2- The importance of esotericism and opium.
3- Reds, pinks, earths, ochres and blues come from the Pompeian palette. The transition from the blue to the pink period was marked by the gradual introduction of Pompeian cinnabar red.
4- The portrait of Circe ("La Majorquine") is the first in a series of representations of the journey to Hades.
5- "Kouroi" and small children symbolise the state in which we arrive at and depart from Hades.
6- "La Toilette" and "The Harem" represent Fernande's initiation.
7- The introduction of the concepts of "temple-brothel" and "goddess-whore".
8- The introduction of the concept of "votive still-life".
9- The emergence of the Pompeian influence in Gósol. The translation of environmental primitivism. The conceptual and iconographic fusion of Pompeian and Romanesque models.
10- The Romanesque gave Picasso the mask of divinity. The Gósol portraits of Fernande are not inexpressive but divine: Ceres, Venus, etc.
11- The development of a personal system of symbols from everyday objects. The fusion of pagan and Christian liturgy.
12- The search of tumblers and acrobats for balance is a metaphor for the work on balance carried out by the initiated.
13- "Les Demoiselle"s is a great pagan-Christian theophany in which Picasso (artist and priest) reveals the mysteries through which mortals like him can relive the experience of Bacchus and attain a higher unity.
In "Les Demoiselles", Picasso returns to the ancient sacred function of sex. Possibly the most serious problem in its interpretation has entailed the focalisation of sex as a mechanism of the brothel. This association may have hindered critics from understanding sex as Picasso portrayed it, as something sacred but wild, uniting animality and mysticism in the same scenario.