Market Structure and Innovation: The Case of Modern Art

The article discusses creativity and innovation in the art market since the late 19th century. The author states that the shift from patron-based art production to a free-market system brought with it a wave of artistic creativity. Several artists are examined, including Pablo Picasso, Claude Monet, and Andy Warhol. The development of the art market and the role of conceptual artists in the 20th century is also mentioned. In the author\u27s opinion, artistic freedom is abundant and boundless

The prints of David Hockney : their cultural, autobiographical and artistic contexts

David Hockney is a leading figure in contemporary printmaking. Since 1954 making prints has been an integral part of Hockney's art practice. It is a field of art in which he is truly gifted and, over five decades, he has created a significant body of prints. He has constantly pushed the boundaries of printmaking in terms of style, subject matter and technique. This is almost without parallel in recent art history. Printmaking has also provided Hockney with a diversion when other forms of his art, notably painting, were in a stylistic and iconographic cul de sac. The history of Hockney's involvement in making prints has formed a critical path in his overall artistic development in all its variety of forms. For much of his life as an artist, David Hockney has been freer, more experimental and less inhibited in his approach to creating art, when making prints than when painting. A successful career in painting often eluded him during much of his early career particularly after he adopted the use of acrylic paint and Hockney would often find himself in an artistic dead end in his painting style. In contrast, making prints often provided a way forward for Hockney. This modus operandi continued for much of his artistic life until his more recent embrace of digital processes in art using an iPhone or iPad. Hockney's development from an emerging artist to a mature and successful one lay in his constant searching for new ways of depiction, other than those belonging to new modernist canons. He was constantly posing pictorial problems and then trying to solve them. To this end, Hockney developed a hybrid art in his printmaking, one of wide ranging eclecticism. He then turned to naturalism, only to find he needed to explore further choices. As a mature artist Hockney achieved a fusion of the abstract and formal elements in his work and to tackle age-old issues - how to portray someone, how to depict a landscape and a season, a time of day and under certain weather conditions and how to indicate space and time in two-dimensional art form. For Hockney, printmaking has been an integral part of this search and discovery. Now entering the second decade of the 21st century, Hockney has finally achieved his ambition to become a landscape painter of consequence and now the focus for Hockney lies there. The significant purpose and role that prints played in his artistic career in the twentieth century have ceased to exist - at least for the present. -- provided by Candidate

The Poetics of Visual Cubism: Guillaume Apollinaire on Pablo Picasso

Guillaume Apollinaire, one of the most original poets of the early twentieth-century French avant garde, played a crucial role in the enunciation of modernist aesthetics. Through innovative poetic forms, Apollinaire set forth a new aesthetics which underscored the inherent ambiguity of an increasingly turbulent modern context. Apollinaire\u27s interest in the pure dynamism of the contemporary material landscape, and his attraction to the image that explodes with immediate presence, also led him to a natural curiosity in the visual arts. Identifying with the Cubist mosaic style of inclusion, the juxtaposition of reality and imagination, and the simultaneity of spatial and temporal movement, Apollinaire saw modern artists as singers of a constantly new truth, inventors of a uniquely authentic modern experience. Apollinaire composed verse to honor his favorite painters, but he also wrote critical studies on the visual arts, and he declares that it is in Cubist art that we can discover a truly successful endeavor to come to terms with the upheavals of modernity. In several texts Apollinaire devotes specifically to Picasso, he argues that his canvases contain the most essential aspects of modern art: a new interpretation of light, a genuine understanding of the elusive notion of the fourth dimension, and an incarnation of the most modern of principles, surprise. Apollinaire\u27s texts on Picasso, examples of his poésie critique, do not remain simply words printed on a page, but are transformed into an extension of the painting he wishes to convey, experimental and unpredictable in discursive tone and poetic style. Through these texts, Apollinaire moves beyond the parameters of a journalistic style of criticism, as his pieces on Picasso take on a chameleon-like power of movement, engendering unique forms of an avant-garde improvisation, the painting of prose poetry

Medieval sources in the early work of Pablo Picasso

Pablo Picasso drew inspiration from diverse artistic traditions. This thesis argues that the medieval art and heritage of Catalonia was among his earliest influences and that it proved instrumental to Picasso\u27s development of that revolutionary approach to painting, known as Cubism. The topic has amazingly received little attention over the past decades and this thesis is an attempt to fill the glaring gap in Picasso scholarship. My work combines formal analysis with an investigation of the broader cultural context in which Picasso was operating in order to demonstrate how the young artist was influenced by the figurative and stylistic execution of Catalan medieval art. Although the Blue Period (1901-1904) is the focus of the thesis, because it constituted Picasso’s first major moment of impact with medieval art, I trace the progression of Picasso’s relationship with medieval imagery throughout his early career, from subtle references in the 1890s to more direct appropriation between 1902 and the dawn of Cubism 1907

Changes in pictorial construction and types of representation which formed the basis of modern art

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

Market Structure and Innovation: The Case of Modern Art

The article discusses creativity and innovation in the art market since the late 19th century. The author states that the shift from patron-based art production to a free-market system brought with it a wave of artistic creativity. Several artists are examined, including Pablo Picasso, Claude Monet, and Andy Warhol. The development of the art market and the role of conceptual artists in the 20th century is also mentioned. In the author\u27s opinion, artistic freedom is abundant and boundless

Fernande Olivier and Pablo Picasso’s advance towards cubism

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.Marina Picasso wrote about her grandfather’s relationship with his female companions that he «bewitched them, ingested them, and crushed them onto his canvas» (Picasso, 2001, p. 180). What she did not take into account is the fact that those women played a vital role in his creative process, often bringing about major shifts in his career. While we in no way condone his behavior towards the opposite sex, this article concentrates on the crucial impact one of his early life partners, Fernande Olivier, had on his oeuvre as he advanced towards Cubism. Picasso’s style changed as he started living with her in the Bateau-Lavoir, leading to the well-known Rose Period. Fernande’s transformative influence would continue and reach high points during two trips they took together to Spain. As is well known, the young Picasso traveled back home whenever he prepared for a major change in his style. This was definitely the case for these two visits to Gósol in 1906 and Horta in 1909. The first one led to the development of the so-called Iberian period in which Picasso progressively focused on the use of masks, applying them first to Fernande’s features. She would be equally central during their second stay in Spain, when Picasso developed Geometrical Cubism. Again, he projected his discovery onto his companion, as he attempted to merge painting and sculpture when capturing her figure in his canvases