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Artículos de revistas sobre el tema "Pablo Picasso"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

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

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

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2

WITHERS, JOSEPHINE. "PABLO PICASSO". Art Book 1, n.º 3 (junio de 1994): 15a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00116.x.

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3

SOMERVILLE, ROSA. "PABLO PICASSO". Art Book 1, n.º 3 (junio de 1994): 22. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00143.x.

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4

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

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Pablo Picasso is one of the Western modern culture creators of the first part of the 20th century. Picasso has influenced numerous artists directly or indirectly – both the followers of Western school and artists here, in Latvia. The main topic of this research is Pablo Picasso's influence on Latvian artists, specifically – Visvaldis Ziediņš, Rūdolfs Pinnis and Aleksandrs Dembo. Picasso stands out for exceptionally virtuosic style – it was characteristic of him to begin each new work as an individual wholeness, experimenting with graphic forms, colours, textures, lines, volumes, playing with relations of dark and light and work's emotional atmosphere. Similarly, in the works of all three artists, the experiments with graphic forms and textures and virtuosic plays with relations of dark and lights and emotions are perceptible. Sharp sense of epoch, refined means of expression, depth of thinking, pictoriality, freedom of inspiration, nonconformity, intellectually difficult practice, lyrism, lightness and looseness, expressivity, spirituality – this is the common denominator of the artists – V. Ziediņš, R. Pinnis and A. Dembo. For all these prominent artists, Picasso’s creative work was not an object of imitation, but rather a launch pad to start acquiring the experience they were fascinated by. Research aim: to characterize creative work of the great Spanish artist Pablo Picasso and analyse his creative influence in the works of Latvian artists. Research methods: theoretical: the analysis of the study fields literature and internet resources.

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5

Haan, Joost y Michel D. Ferrari. "Picasso’s migraine: Illusory cubist splitting or illusion?" Cephalalgia 31, n.º 9 (13 de mayo de 2011): 1057–60. http://dx.doi.org/10.1177/0333102411406752.

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

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6

Hutchinson, Rory. "A grieving process illustrated?" Medical Humanities 44, n.º 1 (10 de junio de 2016): 2–4. http://dx.doi.org/10.1136/medhum-2016-010874.

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

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7

Labella Martínez, Antonio. "brujo Pablo Ruiz Picasso". Revista Eviterna, n.º 14 (29 de septiembre de 2023): 108–25. http://dx.doi.org/10.24310/re.14.2023.17010.

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Este artículo es una investigación que pretende desvelar las posibles influencias del legado de Pablo Picasso en la producción artística de la contemporaneidad global. El estudio parte de la fascinación de Picasso por las figuras rituales de algunos pueblos que fueron colonias de las potencias europeas y su inicio como gran coleccionista de importantes piezas que nunca se separaron de su colección personal de obras de arte, tanto suyas como de otros maestros. A partir de su muerte, los objetos rituales pasan a formar parte del legado de Picasso que atesora el Museo Picasso de París y la información de los mismos pasa a ser pública. Se han tomado tres importantes objetos rituales y se ha realizado un análisis sobre su geografía artística actual para conocer las posibles influencias de lo picassiano en los lenguajes de los artistas actuales como descendientes de los productores de los objetos rituales que coleccionó Picasso. Se han hallado en el análisis de los actores estudiados determinadas singularidades propias que va más allá de los centros tradicionales de producción europeo-americanas y están en consonancia con los lenguajes ligados a las corrientes de la creación artística global. Los intereses conceptuales de estos artistas muestran preocupaciones como en torno a lo femenino, los movimientos migratorios o la construcción de la identidad desde estrategias del ensamblaje simbólico que los une directamente con los postulados de Pablo Picasso.

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8

Mallen, Enrique. "Pablo Picasso: In Search Of Language". Advances in Social Sciences Research Journal 10, n.º 12 (20 de marzo de 2024): 459–70. http://dx.doi.org/10.14738/assrj.1012.16533.

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The article explores Picasso’s multiple influences early in his career as he searched for a language that best expressed his vision of reality. Already the first critics, such as Félicien Fagus for his first exhibition at Galerie Vollard, mentioned the impact on the young Spaniard of a wide range of modern painters in addition to the great classical masters. Many of the identifiable periods in his extensive career can be associated with one or more influential artists: Casas, Rusiñol, Steinlen, Munch during the Modernist years in Barcelona; Toulouse-Lautrec, Renoir, Degas, Van Gogh and others in the first years in Paris; El Greco, Nonell, Puvis, among others during the Blue Period; Matisse, Redon, and others, in the Rose Period; Gauguin later on, etc., etc. These are just a few of the many artists whose styles Picasso explored in numerous ways. Their influence often occurred in complex combinations and would not fully disappear from his works once their incidence had left their imprint. Thus one can find the presence of El Greco or Van Gogh as late as the last years of Picasso’s life. Here we will focus on their influence in the period that preceded Cubism, Picasso’s first truly original language

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9

Mallen, Enrique. "Pablo Picasso: In Search of Language". International Journal of Culture and History 11, n.º 1 (20 de febrero de 2024): 17. http://dx.doi.org/10.5296/ijch.v11i1.21701.

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The article explores Picasso’s multiple influences early in his career as he searched for a language that best expressed his vision of reality. Already the first critics, such as Félicien Fagus for his first exhibition at Galerie Vollard, mentioned the impact on the young Spaniard of a wide range of modern painters in addition to the great classical masters. Many of the identifiable periods in his extensive career can be associated with one or more influential artists: Casas, Rusiñol, Steinlen, Munch during the Modernist years in Barcelona; Toulouse-Lautrec, Renoir, Degas, Van Gogh and others in the first years in Paris; El Greco, Nonell, Puvis, among others during the Blue Period; Matisse, Redon, and others, in the Rose Period; Gauguin later on, etc., etc. These are just a few of the many artists whose styles Picasso explored in numerous ways. Their influence often occurred in complex combinations and would not fully disappear from his works once their incidence had left their imprint. Thus one can find the presence of El Greco or Van Gogh as late as the last years of Picasso’s life. Here we will focus on their influence in the period that preceded Cubism, Picasso’s first truly original language.

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10

Southgate, M. Therese. "Portrait of Pablo Picasso". JAMA 297, n.º 19 (16 de mayo de 2007): 2055. http://dx.doi.org/10.1001/jama.297.19.2055.

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11

Franco Carrión, Laura. "Pablo Picasso y la cinematografía". Boletín de Arte, n.º 32-33 (8 de marzo de 2018): 265–80. http://dx.doi.org/10.24310/bolarte.2012.v0i32-33.4270.

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

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12

Saeid, Samaneh y Laleh Atashi. "Vintage Ladies in Cubist Exhibitions: Pablo Picasso's Cubist Women and Judith Butler's Performativity". k@ta 22, n.º 1 (12 de julio de 2020): 28–35. http://dx.doi.org/10.9744/kata.22.1.28-35.

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As a prominent figure in the history of painting, Pablo Picasso has bestowed upon the world his uniquely striking paintings in different styles, the most revolutionary of which being his Cubist art. The representation of women occupies a significant space in Picasso’s Cubist works. While the painter’s style is highly revolutionary, rejecting the accepted principles of painting, the subject matter does not change as such: nude women are objectified with a cubist look. Judith Butler’s theory of gender performativity which examines the roots of naturalized concepts of gender, has been applied to Picasso’s representations of women in his cubist paintings. This research examines the way naturalized definitions of gender have found their way into Picasso’s paintings. By applying the Butlerian concept of gender performativity to a number of Picasso’s cubist artworks, we try to indicate how stereotypes of gender linger in the discourse of modernism. Analyses lead to the conclusion that although the cubist style of painting is an experimentation in form, hardly any avant-gardism can be traced in the representation of gendered identities in Picasso.

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13

Mallen, Enrique. "Compositionality in Pablo Picassos Poetry". Advances in Humanities Research 3, n.º 1 (20 de noviembre de 2023): 1–20. http://dx.doi.org/10.54254/2753-7080/3/2023015.

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

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14

M. Muñiz Jr, Albert, Toby Norris y Gary Alan Fine. "Marketing artistic careers: Pablo Picasso as brand manager". European Journal of Marketing 48, n.º 1/2 (4 de febrero de 2014): 68–88. http://dx.doi.org/10.1108/ejm-01-2011-0019.

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Purpose – In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands. Design/methodology/approach – Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso. Findings – Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their management of these powerful brands, artists generate a complex, multifaceted public identity that is distinct from a product brand but shares important characteristics with corporate brands, luxury brands and cultural/iconic brands. Originality/value – This research extends prior work by demonstrating that having an implicit understanding of the precepts of branding is not limited to contemporary artists and by connecting the artist to emerging conceptualizations of brands, particularly the nascent literatures on cultural, complex and corporate brands.

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15

Suri, Ritika y Ashhar Ali. "Coining the Pablo Picasso Syndrome". Headache: The Journal of Head and Face Pain 60, n.º 3 (19 de enero de 2020): 626–29. http://dx.doi.org/10.1111/head.13702.

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16

Korff-Sausse, Simone. "Gertrude Stein et Pablo Picasso". Le Carnet PSY N° 265, n.º 8 (24 de noviembre de 2023): 46. http://dx.doi.org/10.3917/lcp.265.0046.

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17

Vernier, Béatrice. "Écriture de soi et de l’autre: Récits de filiation et contestation chez Herzog et Picasso". Anales de Filología Francesa 27, n.º 1 (15 de noviembre de 2019): 385–400. http://dx.doi.org/10.6018/analesff.381211.

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Este articulo analiza como los autores Félicité Herzog y Marina Picasso refutan la imagen publica de su padre y abuello, el excepcional alpinista Maurice Herzog y el gran artista Pablo Picasso en dos ‘‘récits de filiation’’, Un héros y Grand-père. En primer lugar, demuestro que aunque sus acusaciones revelan un comportamiento cruel de estas figuras famosas con su familia, también le ayudan a comprender su sufrimiento durante su infancia. En segundo lugar, demuestro que ambos autores admiten que Maurice Herzog y Pablo Picasso eran victimas de su celebridad y por lo tanto los disculpan en parte. Al final, aunque los autores rechazan la filiación del hombre corrupto por su celebridad, aceptan la filiación del padre alpinista excepcional y del abuelo artista novator. This paper examines the way in which Félicité Herzog and Marina Picasso challenge the public images of their father and grand-father, the exceptional mountaineer Maurice Herzog and the great artist Pablo Picasso, respectively, in two ‘‘récits de filiation’’, Un Héros and Grand-père. I first show that while the authors’ accusations unveil a cruel attitude from these two renowned figures towards their relatives, they also act as an outlet to help them understand their own suffering as children. Second, I show that both authors recognize that Maurice Herzog and Pablo Picasso were victims of their fame, therefore partly excusing them. Thus, although the authors reject the filiation of those individuals corrupted by their celebrity, they accept the filiation of a father, an exceptional mountaineer, and a grandfather, the unique painter. Este articulo analiza como los autores Félicité Herzog y Marina Picasso refutan la imagen publica de su padre y abuello, el excepcional alpinista Maurice Herzog y el gran artista Pablo Picasso en dos ‘‘récits de filiation’’, Un héros y Grand-père. En primer lugar, demuestro que aunque sus acusaciones revelan un comportamiento cruel de estas figuras famosas con su familia, también le ayudan a comprender su sufrimiento durante su infancia. En segundo lugar, demuestro que ambos autores admiten que Maurice Herzog y Pablo Picasso eran victimas de su celebridad y por lo tanto los disculpan en parte. Al final, aunque los autores rechazan la filiación del hombre corrupto por su celebridad, aceptan la filiación del padre alpinista excepcional y del abuelo artista novator.

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18

Miguel Fernández, Antonia. "Pável Filónov versus Pablo Ruiz Picasso". Revista Eviterna, n.º 1 (26 de febrero de 2020): 67–73. http://dx.doi.org/10.24310/eviternare.v1i1.8019.

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Aunque el título del artículo parece aludir a la oposición entre ambos artistas, el análisis de sus vidas y obra evidencia que, aunque sus figuras son en gran medida contrapuestas, también poseen características que los unen. No obstante, dados los límites del presente trabajo, sólo vamos a detenernos en tres cuestiones: la firma, su relación con las mujeres y los retratos de familia. No nos parece adecuado tratar la cuestión atendiendo a la importancia que la posición social o su origen oriental u occidental poseen en la producción artística de uno u otro, por una cuestión en la que están de acuerdo todos los estudiosos de la obra de Filónov: su obra es tan absolutamente extraordinaria y original, que se encuentra al margen, no sólo de las vanguardias occidentales, sino de las propiamente rusas. Es un artista único, que creó un estilo único, “el arte analítico” y una escuela propia y, por tanto, sin parangón con ningún otro.

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19

NICHOLAS, ROBERT ROBINS y TRURO. "Hands and the Artist—Pablo Picasso". Journal of Hand Surgery 15, n.º 1 (febrero de 1990): 131–34. http://dx.doi.org/10.1016/0266-7681_90_90071-b.

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20

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

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

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21

ROBINS, N. y R. ROBINS. "Hands and the artist — Pablo Picasso". Journal of Hand Surgery: Journal of the British Society for Surgery of the Hand 15, n.º 1 (febrero de 1990): 131–34. http://dx.doi.org/10.1016/0266-7681(90)90071-b.

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22

Potter, Polyxeni. "Pablo Picasso (1881–1973). Guernica (1937)." Emerging Infectious Diseases 9, n.º 6 (junio de 2003): 760–61. http://dx.doi.org/10.3201/eid0906.ac0906.

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23

Gandhi, Jagdeep Singh. "Pablo Picasso and Aspects of Medicine". American Journal of Medicine 126, n.º 12 (diciembre de 2013): 1150–51. http://dx.doi.org/10.1016/j.amjmed.2013.07.042.

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24

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

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25

Elsebaey, Asmaa. "New cubism & Picasso to inspired interior design and furniture". International Journal of Basic and Applied Sciences 6, n.º 4 (14 de septiembre de 2017): 63. http://dx.doi.org/10.14419/ijbas.v6i4.8141.

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Pablo Ruiz Picasso is one of the best documented and one of the most influential artists of the twentieth century. During his life, he created more than 20,000 paintings and sculptures. Through his invention of forms and techniques, his exploration of space, and his experimentation, Picasso was the leader of an artistic revolution that reached not only painters and sculptors, but also authors, composers, and architects. Picasso begins to look at nature in terms of shapes like cones, spheres and cylinders. It was Picasso's literal translation of this advice that led to one of his most influential periods, a period characterized by an exploration of space and form called Cubism.The aim of this study is to analyze Picasso's paintings as an entry point to get in the interior design. Additionally, try to create new design methodology that inspired by Cubism.The current research discusses what is the cubism? What is the relationship between cubism and modern architecture? I focus in my paper at the Cubism's concepts, technical and stylistic aspects. Also, I explain Picasso's career beginnings, African-influenced period and his crystal period.Objectives:1) Analytical study for the philosophical concept of Picasso's paintings and Cubism, from an architectural viewpoint.2) Inspired design methodology from Picasso's paintings and Cubism to be used in furniture design and internal spaces.

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Elcott, Noam M. "Kubism™: Picasso, Trademarks and Bouillon Cube". Arts 13, n.º 1 (7 de febrero de 2024): 30. http://dx.doi.org/10.3390/arts13010030.

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

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27

Salazar Jiménez, Pablo. "Arlequín. Una exposición para mirar y leer". Boletín de Arte, n.º 41 (5 de noviembre de 2020): 370–73. http://dx.doi.org/10.24310/bolarte.2020.v41i.10622.

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

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Mallen, Enrique. "Fernande Olivier y el avance de Pablo Picasso al cubismo". Revista Eviterna, n.º 14 (29 de septiembre de 2023): 146–60. http://dx.doi.org/10.24310/re.14.2023.16641.

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Marina Picasso escribió con respecto a la relación de su abuelo con sus compañeras que «las embrujaba, las digiría, y las plasmaba en sus lienzos» (Picasso, 2001, p. 180). Lo que no tomó en cuenta es el hecho que aquellas mujeres jugaron un papel vital en el proceso creativo del artista, a menudo estimulando grandes cambios en su carrera. Aunque no aprobamos de ninguna manera su comportamiento hacia el sexo opuesto, este artículo se concentra en el impacto crucial que una de sus primeras compañeras, Fernande Olivier, tuvo en su obra mientras Picasso avanzaba hacia el Cubismo. El estilo del artistas fue cambiando al inicio de su convivencia con ella en el Bateau-Lavoir, consolidando el conocido Período Rosa. La influencia transformadora de Fernande continuará por algún tiempo, alcanzando puntos críticos durante dos viajes que hicieron juntos a España. Como se sabe, el joven Picasso regresaba a su país de origen cuando se disponía a hacer importantes cambios en su estilo. Éste fue el caso definitivamente durante estas dos visitas a Gósol en 1906 y Horta en 1909. La primera condujo al desarrollo del llamado Periodo Ibérico en el que se centró progresivamente en el uso de máscaras, aplicándolas en un principio al rostro de Fernande. Ella será igualmente un componente esencial durante la segunda estancia en España, cuando Picasso desarrolla en Cubismo Geométrico. Aquí de nuevo, el artista projectó los nuevos descubrimientos en se compañera, intentando integrar pintura y escultura en sus lienzos a través de los rasgos de ella.

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Kryger, Meir H. y Isabella Siegel. "Painting a dream: Le Rêve—Pablo Picasso". Sleep Health 3, n.º 3 (junio de 2017): 134–35. http://dx.doi.org/10.1016/j.sleh.2017.02.005.

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Dominiczak, Marek H. "Pablo Picasso and the Universe of Art". Clinical Chemistry 58, n.º 9 (1 de septiembre de 2012): 1384–85. http://dx.doi.org/10.1373/clinchem.2012.182022.

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31

Stevenson, Deborah. "Just Behave, Pablo Picasso! (review)". Bulletin of the Center for Children's Books 65, n.º 9 (2012): 486–87. http://dx.doi.org/10.1353/bcc.2012.0410.

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32

Landete, Pierre. "Montrez-moi Guernica ! Lettre de Diego Velasquez à Pablo Picasso". Sigila N° 53, n.º 1 (31 de mayo de 2024): 67–77. http://dx.doi.org/10.3917/sigila.053.0067.

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

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

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

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spiller, harley. "Cock-A-Doodle". Gastronomica 12, n.º 1 (2012): 9–11. http://dx.doi.org/10.1525/gfc.2012.12.1.9.

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Art Historian Jed Perl's challenge to reveal a topic in the work of Pablo Picasso that hadn't been thoroughly covered results in “Cock-a-Doodle,” an analysis of the master's lifelong penchant for making art about poultry. Less glorious and known than the master's celebrated images of women and bullfights, birds intended for the dinner table are nonetheless a critical aspect of his oeuvre. For Picasso common birds were perfect tools for implying the elemental. He was not a gourmet. Food was less important for him as nourishment than as a mirror of the soul. Based on an eighty-five page analysis of all of his works on the topic, this essay focuses on his 1962 painting Coq Troussé (Trussed Cock). In this picture Picasso reversed the ordinary process whereby birds are slaughtered before plucking, making this painting unique in the history of game bird portraiture. Horrified and horrifying, the unwilling star of Picasso's timeless and global image demands that his viewers confront their fears of savagery and death. Picasso focused on the carnage lurking behind societal niceties; loved divulging the viscera of so-called civilization; and found in humble, ungainly chicken (and other edible birds) an enduring motif for his humanistic mission.

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

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Bahman Mohasses is one of the artists who emphasize his unique personal art, style and look in creating his works, both in the field of painting and sculpture. He transcends the superficial and dramatic manifestations of modern schools and at the same time the outward manifestations of the Iranian visual tradition, and finds remarkable success in inventing his personal identity. Critics, friends and followers consider his work to be influenced by the most famous Spanish artist of the twentieth century, Pablo Picasso. Beyond technique and style, the influence of Picasso’s personality on him and the spiritual similarities between the two are sometimes astonishing. What sets Mohasses apart from many Iranian artists, in addition to his unique technique among Iranian painters, was his dark and bitter look in his works. Although many of Mohasses’ early works are technically close to those of European painters of the 1920s and 1930s, their main origins are in Picasso’s Cubist style. Perhaps for this reason, many Iranian painters and art critics consider Bahman Mohasses to be the most complete Iranian painter by European standards and even know him as the Iranian Picasso.

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Fernández Sanz, Alejandra. "Pablo Picasso: Evidencias musicales en su vida y obra." El Pájaro de Benín, n.º 6 (2020): 152–87. http://dx.doi.org/10.12795/pajaro_benin.2020.i6.07.

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

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Franco Carrión, Laura. "primeras películas de los Lumière y el cubismo de Pablo Picasso". Revista Eviterna, n.º 14 (29 de septiembre de 2023): 70–87. http://dx.doi.org/10.24310/re.14.2023.16967.

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En la investigación que se presenta a continuación, se analizan diversas conexiones halladas entre las primeras películas de los Hermanos Lumière y el movimiento cubista, tomando en este caso como objeto de estudio, específicamente el cubismo de Pablo Picasso , así como aquellos filmes de los Lumière considerados como los primeros documentales de la Historia del cine, fundadores del cine que a partir de entonces comenzó a denominarse como “realista”. Mediante este trabajo, intentaremos poner de manifiesto que existen diversos puntos en común entre el primer cine y el cubismo, examinando concretamente determinados vínculos encontrados entre las primeras películas de los Lumière y el cubismo de Pablo Picasso. Para ello, nos centraremos en investigar los conceptos comunes en ambos campos de realismo, tiempo y movimiento, tomando como referencia las apreciaciones que, sobre estos tres aspectos concretos, realizan autores como Román Gubern, John Golding, Daniel-Henry Kahnweiler o Standish D. Lawder, entre otros. En primer término, resaltaremos la importancia del carácter realista del cubismo, realismo también palpable y definitorio en las películas de los Hermanos Lumière y en segundo lugar, analizaremos la incorporación revolucionaria de los conceptos de tiempo y movimiento en el cubismo de Pablo Picasso, agentes igualmente esenciales y transformadores en el cine que crearon los Lumière. Mediante todos estos aspectos, por una parte, intentaremos demostrar que el concepto de realismo podría constituirse como una importante conexión a tener en cuenta entre las primeras películas de los Lumière y el cubismo de Pablo Picasso y por otro lado, trataremos de evidenciar que los conceptos de tiempo y de movimiento se situaron en el primer cine y también en el cubismo, como dos elementos decisivos para el desarrollo de ambas manifestaciones artísticas, capaces de provocar un impacto nunca antes experimentado en sus primeros espectadores.

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Gutierrez-Peláez, Miguel. "Un arte con machete. Comentario sobre la obra de Alonso Jiménez". Avances en Psicología Latinoamericana 34, n.º 1 (14 de enero de 2016): 187. http://dx.doi.org/10.12804/revistas.urosario.edu.co/apl/a.4399.

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

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Morris, Gay. "Massine/Picasso/Parade". Modernist Cultures 9, n.º 1 (mayo de 2014): 46–61. http://dx.doi.org/10.3366/mod.2014.0073.

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This essay concerns Leonide Massine's choreography for the Ballets Russes production of Parade (1917). The ballet was groundbreaking in its incorporation of Cubist and Futurist innovations and for its vanguard collaborators, which included Erik Satie, Jean Cocteau, and Pablo Picasso. Massine was only twenty-one at the time, and his choreography has often been dismissed as inconsequential. I argue that Massine not only made a major contribution to the collaboration, but that his working methods and approach to choreography owed more to Cubism's reformist tendencies than to Futurism's call for a radical remaking of art. In laying out a path close to Cubism, Massine set western ballet in the direction of the high modernism that would later be epitomized by George Balanchine.

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Lawler, James. "The Wound in the Poem: Apollinaire's "Pablo Picasso"". Australian Journal of French Studies 30, n.º 3 (septiembre de 1993): 391–403. http://dx.doi.org/10.3828/ajfs.30.3.391.

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Fitzpatrick, Daniel. "Bellows in Malaga: Thomistic Insights via Pablo Picasso". Roczniki Kulturoznawcze 10, n.º 4 (23 de junio de 2020): 141–60. http://dx.doi.org/10.18290/rkult.2019.10.4-7.

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Miechy w Maladze: tomistyczny ogląd na podstawie Picassa Artykuł rozpoczyna się od wyjaśnienia nauczania św. Tomasza na temat problemu ‘jedno i wiele’ poprzez udzielenie odpowiedzi na trzy pytania: 1) Co to jest rodzaj? 2) W jaki sposób, na bazie przeciwieństw, zorganizowane są rodzaje i jaką rolę odgrywa w takiej organizacji ilość wirtualna? 3) W jaki sposób poznający i to, co poznawane, stanowią przeciwstawne bieguny danego rodzaju? Bazując na odpowiedziach na te pytania, przechodzimy następnie do analizy sztuki, ze szczególnym uwzględnieniem Picassa, w celu wyjaśnienia trzech uzupełniających się punktów: 1) W jaki sposób artysta i jego dzieło stanowią rodzaj i w jaki sposób dzieło i odbiorca stanowią rodzaj; 2) W jaki sposób dzieło sztuki potwierdza rodzajową relację zmysłowego przedmiotu i zmysłowego bytu; 3) W jaki sposób artysta podporządkowuje to, co praktyczne, spekulacyjne, swojej pracy i co to oznacza dla roli artysty w epoce coraz bardziej nastawionej na praktyczną stronę życia.

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DAĞLI, Şemseddin. "Sanatsal Gelişim Sürecinde Pablo Ruiz Picasso ve Kübizm". İnsan ve Toplum Bilimleri Araştırmaları Dergisi 10, n.º 3 (30 de septiembre de 2021): 2812–31. http://dx.doi.org/10.15869/itobiad.907983.

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Mallen, Enrique. "Pablo Picasso and the Truth of Greek Art". ATHENS JOURNAL OF HUMANITIES & ARTS 1, n.º 4 (30 de septiembre de 2014): 283–98. http://dx.doi.org/10.30958/ajha.1-4-1.

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Azizov, Dilshod. "CERAMICS IN CERAMICS P. PICASO FROM THE COLLECTION OF THE STATE MUSEUM OF ARTS OF UZBEKISTAN". JOURNAL OF LOOK TO THE PAST 4, n.º 6 (30 de junio de 2021): 16–29. http://dx.doi.org/10.26739/2181-9599-2021-6-3.

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

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Meneses, Luis y Enrique Mallen. "Semantic domains in Picasso’s poetry". Digital Scholarship in the Humanities 34, Supplement_1 (24 de diciembre de 2018): i123—i128. http://dx.doi.org/10.1093/llc/fqy078.

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Abstract The question of why Pablo Picasso dedicated a considerable amount of his time to writing around 1935 is open to speculation. Many have cited, among possible causes: the Spanish artist’s emotional crisis, the political turmoil in Europe in the period between the two wars, and the menace of a confrontation in Spain. All of these views are predicated on an assumed irreducible conflict between visual composition and verbal expression. However, we cannot forget that Picasso’s interest in alternative methods of expression might have started with his fascination for linguistic structure as a whole during his cubist period. In this article, we explore the possibility that the transition into poetry that we observe in Picasso is simply one more manifestation of his pursuit of alternative approaches to language as a means of representation. In this sense, one thing that remained to be determined was how concrete concepts in both languages cluster into representative semantic categories and how these categories interact with each other in semantic networks.

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Martínez Silvente, Mª Jesús. "Gino Severíni: el futurismo más francés (II)". Boletín de Arte, n.º 24 (4 de abril de 2018): 251–66. http://dx.doi.org/10.24310/bolarte.2003.v0i24.4685.

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En el número anterior de este Boletín de Arte se realizó un primer acercamiento a la figura del futurista Gino Severini (1883-1966), destacando la relación de su obra plástica con la de Pablo Picasso y los cubistas franceses. En esta ocasión, se analizarán las conexiones entre el pintor italiano y los artistas que trabajaron en París en el círculo de Picasso, basándonos en sus escritos y destacando de ellos su crítica al cubismo.

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Palkina, Iryna. "The Album “Guernica” by the “KAT” band: a Musical Representation of a Painting by Pablo Picasso". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n.º 133 (21 de marzo de 2022): 71–82. http://dx.doi.org/10.31318/2522-4190.2022.133.257316.

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Relevance of the study. Rock art has a syncretic origin and gravitates towards multi-level synthesis throughout the history of its development. Incorporating elements from other art forms is an essential characteristic of rock music. The trends in the interaction of art forms in the field of rock culture are considered on the example of the concept album “Guernica” by the “KAT” band, dedicated to the cognominal painting by Pablo Picasso. The main source of analysis is the audio recording of the album. The “Guernica” album is a vivid example of an artistic dialogue that takes place on the literary, musical and visual planes. The scientific novelty of the study. The concept album “Guernica” by the Ukrainian hardcore band “KAT”, dedicated to the painting of the same name by Pablo Picasso, for the first time became the object of musicological analysis and is considered as an example of synthesizing trends in the field of rock art. The main objective of the study is to determine the levels of artistic interactions between the concept album “Guernica” by the “KAT” band and the original painting by Pablo Picasso. The methodology is based on the contextual method (to consider rock art as a synthetic phenomenon) as well as methods of holistic (to describe the album), comparative and intermedial analysis (to identify the levels of artistic interaction between a piece of music and the original painting). Results of the study. The concept album “Guernica” by the hardcore band named “KAT” is not just a dedication to the cognominal painting by Pablo Picasso. Аrtistic dialogue between works of art takes place in the visual (album cover), literary (direct descriptions of the elements of the picture, the technique of seeing events from different angles borrowed from visual art, reportage style of texts) and musical plane (recitative intonations, fast drumbeats, extreme vocal techniques); on the descriptive (direct references to the elements of the picture) and emotional and figurative levels. The album is a vivid example of intermediality in the field of rock art.

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Otoch, Janaína Nagata. "Retratos inacabados". Revista Criação & Crítica, n.º 25 (27 de diciembre de 2019): 89–104. http://dx.doi.org/10.11606/issn.1984-1124.v1i25p89-104.

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O artigo discute o retrato que Pablo Picasso fez de Gertrude Stein (1905) para cotejá-lo com os retratos literários que Gertrude Stein fez de Picasso (1909-10, 1924). Examinando como as obras respondem ao imperativo de “matar o século XIX”, interrogamos como tanto em Picasso quanto em Stein opera-se uma mudança de paradigma em relação às exigências do retrato enquanto gênero, que acaba por instaurar um modelo de intersubjetividade em dissidência com antigas prescrições de objetividade pautadas por uma tradição da retratística que emergira com o Renascimento. A análise coloca em relevo os paralelismos entre a “destruição” do espaço perspectivo na pintura cubista e a “destruição” da sintaxe nos poemas de Stein, bem como a busca por simultaneidade e por uma apreensão não unitária e fixa de noções como sujeito e identidade, que Picasso e a escritora praticaram em seus respectivos meios de expressão. Por último, comentamos brevemente a versão em português de Augusto de Campos a partir da tradução de “If I Told You: A Complete Portrait of Picasso” [Se eu lhe contasse: um retrato inacabado de Picasso], o segundo dos retratos de Picasso escrito por Gertrude Stein.

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Et al., Saidakhbor Bulatov. "Principles of Using Scientific Discoveries in Modernization of The Art Education System". Psychology and Education Journal 58, n.º 2 (1 de febrero de 2021): 1221–25. http://dx.doi.org/10.17762/pae.v58i2.2264.

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Et al., Saidakhbor Bulatov. "Principles Of Using Scientific Discoveries In Modernization Of The Art Education System". Psychology and Education Journal 58, n.º 2 (1 de febrero de 2021): 1216–20. http://dx.doi.org/10.17762/pae.v58i2.2263.

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