Mite as metafoor vir kreatiwiteit in Picasso se "Blinde Minotaurus gelei deur 'n meisie met 'n wilde bos blomme" (1934) ("Vollard-suite")

Die simboliese betekenis van Picasso se uitbeelding van mitologiese figure as verwysing na Dionysiese kreatiwiteit word ondersoek. Dit word in die gebruik van mite in surrealitiese kuns gekontekstualiseer. Ten slotte word afleidings oor Picasso se siening van die kreatiwiteit van die kunstenaar gemaak.The symbolic meaning of Picasso's portrayal of mythological figures as references to Dionysian creativity is investigated. It is contextualized in the use of myth in surrealist art. Finally conclusions on Picasso's view of the artist's creativity are made.Article digitised using: Suprascan 1000 RGB scanner, scanned at 400 dpi; 24-bit colour; 100% Image derivating - Software used: Adobe Photoshop CS3 - Image levels, crop, deskew Abbyy Fine Reader No.9 - Image manipulation + OCR Adobe Acrobat 9 (PDF

Poetry into painting: Mallarmé, Picasso, and punning

This article gives a critical assessment of the relationship between the poetry of Stéphane Mallarmé and the Cubist painting and collage of Pablo Picasso. Taking in a range of critical sources that have insisted on Picasso’s ‘mallarmisme’, the article sets out to shift scholarly debate away from its focus on Picasso’s punning reference to Un coup de dés in a 1912 collage, and its suggestion of a dialogue between poet and painter around high art and its relationship to popular, commercial forms of production. It proposes that we instead focus our attention on the punning structures shared by Mallarmé and Picasso’s work more generally – structures which give rise to a sense of simultaneity, or overlaps of meaning, and which ultimately suggest that in engaging with Mallarmé’s poetry Picasso was self-consciously reflecting on the notion of painting as a kind of language, with its own syntax

The Sacred and the Beginnings of Cubism

This dissertation deals with the relationship between the sacred and the cubism of Pablo Picasso and Georges Braque. Through the analysis of images, it shows how the sacred is present in the main inspirational sources of Cubism, i.e., in the work of Paul Cézanne and in primitive art, and how it manifests itself in the early and later stages of Cubism. It also points out the affinity between Husserl's phenomenology and Cubism, which is manifested primarily from the analytical phase of Cubism onwards. The first chapter deals with the sources of inspiration of cubism, namely Paul Cézanne and primitive art. It explores elements of otherness and ugliness, mainly associated with the feeling of tremendum. In Cézanne's work it notes his relationship to the landscape, which it examines in connection with sacred space. Primitive art served as a parenthesis for Picasso, thanks to which he was able to look at things in a new way. The real breakthrough, however, comes with the creation of analytical cubism, for it is a picture of a radically different and new world, a world based on the subjectivity of its creator. The second chapter traces the chronological development of Cubism from the analytical period, through the invention of collage to the synthetic period. In doing so, it pays particular attention to...Tato práce se zabývá vztahem mezi posvátnem a kubismem Pabla Picassa a Georgese Braquea. Pomocí analýzy obrazů ukazuje, jakým způsobem je posvátno přítomno v hlavních inspiračních zdrojích kubismu, tedy v díle Paula Cézanna a v primitivním umění, a jak se projevuje v rané i pozdějších fázích kubismu. Dále poukazuje na afinitu mezi Husserlovou fenomenologií a kubismem, projevující se především od analytické fáze kubismu dále. Husserlovu fenomenologii chápe v kontextu této práce jako "myšlenku doby". První kapitola se zabývá inspiračními zdroji kubismu, jmenovitě Paulem Cézannem a primitivním uměním. Zkoumá prvky jinakosti a ošklivosti, spjaté převážně s pocitem tremenda. U Cézanna si všímá jeho vztahu ke krajině, který zkoumá v souvislosti s prostorem posvátným. Primitivní umění posloužilo Picassovi jako závorka, díky které dokázal pohlížet na věci nově. Skutečný zlom však nastává se stvořením analytického kubismu, neboť ten je obrazem světa radikálně jiného a nového, světa vycházejícího ze subjektivity svého tvůrce. Kapitola druhá sleduje chronologický vývoj kubismu od analytického období, přes vynález koláže až po období syntetické. Všímá si přitom především afinity mezi kubistickými obrazy a Husserlovou fenomenologií, kterou se snaží dokládat konkrétními příklady. Posvátno je zde zastoupeno...Ústav filosofie a religionistikyInstitute of Philosophy and Religious StudiesFaculty of ArtsFilozofická fakult

The Otterbein Miscellany - June 1984

https://digitalcommons.otterbein.edu/miscellany/1007/thumbnail.jp

Temas y modelos en la obra de Picasso

The author considers Picasso's work focusing only on the themes developed by the artist. From this point of view, he relates the representational and narratives themes in an attempt to provide a systematic view of the whole work. At the same time, he defines, in each case, the stormy, relation of Picasso with the History of Art, that is to say the painters and forms he uses just as a departure point to recreate, according to an alwaysnew syntax, what was to him, mainly, a hereditary ensemble of forms. In so doing he manages to define his own life plastically and by extension the very world in which he lived

Pity for the Mythic Brute: Pablo Picasso’s Minotaur in the Vollard Suite

This thesis examines the nuances of Pablo Picasso's minotaur as presented within the framework of the Vollard Suite. I argue that a text by Honor&eacute; de Balzac, Physiologie du Mariage, may have influenced Picasso's conception of the minotaur. It features of a minotaur, yet one framed within a parodic setting. The minotaur, explored in connection with the Balzacian creature, reveals the introspective nature of the Picasso&rsquo;s beast. Furthermore, the comedic tone of Balzac's Physiologie served as a means for Picasso to reflect upon the subconscious drives, which in turn, the artist visually manifested through his surrogate-self, the minotaur. As Picasso's favored alter-ego during the 1930s, one that was deeply linked to his personal, artistic, and Spanish identities, Balzac's text offers the infusion of his French identity into his conception of the minotaur. Traditional scholarship surrounding the minotaur focuses on the mythological or Spanish aspect, which this analysis will not be contesting, but will rather offer another facet to interpretations of the creature.</p

An Investigation of the Relationship between Popular Music and Analytic Cubist Paintings in Prewar Paris

This thesis addresses the connection between Analytic Cubist paintings and popular music culture in pre-World War I Paris. In particular, it focuses on popular music, performance, song lyrics, music iconography and its connected poster advertising as each relates to the Analytic Cubist paintings of Braque and Picasso. During the last years of the nineteenth century, the world of fine art came into close contact with the realm of popular entertainment, in particular institutions such as the cabaret, cafe\u27-concert and the music-hall. A revival of this performance which occurred around 1910, not only impacted the everyday world, but also the Cubist artists whose work reflected this renewed interest. Popular music culture provided a vocabulary of devices that were taken by the Cubists and reinterpreted to a more complex, less popular cultural ends. This is reflected in the derivation of visual elements which are essential to Analytic Cubist paintings. Some of these borrowed devices can be traced to techniques typically used in popular music poster advertisements. For example, elements common to posters such as the representation of illusionistically drawn objects and the use of words as well as the juxtaposition of imagery and letters can be found in Analytic Cubist work. Similar to posters, popular music also makes its way into Cubist painting. In addition to the well-documented example of Picasso\u27s use of the Ma Jolie refrain from Harry Fragson\u27s hit song Derniere Chanson, other instances of subject matter as well as attributes (sous entendre and repetitive lyrics) of popular song can be found in Cubist painting. Elements of popular-music culture, linked through performance, posters and song lyrics are in fact essential visual components of the vocabulary of Analytic paintings

The use of newspaper in Pablo Picasso's papiers-colles of 1912-1913

Thesis (B.A.) in Art History -- University of Illinois at Urbana-Champaign, 1990.Includes bibliographical references (leaf 27)Microfiche of typescript. [Urbana, Ill.]: Photographic Services, University of Illinois, U of I Library, [1990]. 1 microfiche (32 frames): negative.s 1990 ilu n

The artistic collaboration resulting in the creation of the ballet Parade

The Artistic Collaboration Resulting in the Creation of the Ballet Parade is an examination of the development of Parade for the Ballet Russe. It describes the process by which Jean Cocteau, Pablo Picasso, Erik Satie, and Leonide Massine collaborated under the guidance of Serge Diaghilev. The collaborators\u27 objective was to create a work of total art which gave equal attention to visual art, music, and dance. The medium of dance is the primary focus for examination in this thesis, but it cannot be understood without looking at the work of each of the collaborators as well as the political and cultural climate of Paris in 1917. Cocteau\u27s scenario, Picasso\u27s Cubist designs, and Satie\u27s innovative music, along with Massine\u27s choreographic invention, resulted in this work of total art