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A Brief History Of The Artist From God To Picasso


Author : Paul Barolsky
language : en
Publisher: Penn State Press
Release Date : 2010

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Explores art history and imaginative literature to show how fiction and history inform each other. Traces the modern idea of the artist to the epic tradition from Homer and Ovid to Dante, leading to Michelangelo. Examines how Vasari shaped Balzac's idea of the artist, and Balzac influenced Picasso's --Provided by publisher.

Michelangelo And The Finger Of God


Author : Paul Barolsky
language : en
Publisher: Univ of Georgia Georgia Museum
Release Date : 2003-03-01

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Why Mona Lisa Smiles And Other Tales By Vasari


Author : Paul Barolsky
language : en
Publisher: Penn State Press
Release Date : 2010-11-01

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Historical Heartthrobs


Author : Kelly Murphy
language : en
Publisher: Houghton Mifflin Harcourt
Release Date : 2014-01-07

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Compiles photos and life stories of 50 of history's most alluring men and women, offering insight into their lasting influence while sharing basic statistics, whimsical sidebars and "crushability" rankings for each. 20,000 first printing.

Life


Author :
language : en
Publisher:
Release Date : 1947-10-13

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LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.

The Religious Art Of Pablo Picasso


Author : Jane Dillenberger
language : en
Publisher: Univ of California Press
Release Date : 2014-04-17

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This is the first critical examination of Pablo Picasso's use of religious imagery and the religious import of many of his works with secular subject matter. Though Picasso was an avowed atheist, his work employs spiritual themes—and, often, traditional religious iconography. In five engagingly written, accessible chapters, Jane Daggett Dillenberger and John Handley address Picasso's cryptic 1930 painting of the Crucifixion; the artist's early life in the Catholic church; elements of transcendence in Guernica; Picasso's later, fraught relationship with the church, which commissioned him in the 1950s to paint murals for the Temple of Peace chapel in France; and the centrality of religious themes and imagery in bullfighting, the subject of countless Picasso drawings and paintings.

The Artist His Model Her Image His Gaze


Author : Karen L. Kleinfelder
language : en
Publisher: University of Chicago Press
Release Date : 1993-04-15

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Although Pablo Picasso's name is virtually synonymous with modernity, his late graphics repeatedly turn back to the traditional theme of the artist and model. Had the aging artist turned reactionary, or is Picasso's treatment of the theme more subversive than anyone has suspected? In this innovative study, Karen L. Kleinfelder rejects the claim that Picasso's later work was a failure. The failing, she claims, lies more in the way we typically have read the images, treating them merely as reflections of an "old-age" style or of the artist's private life. Focusing on graphics dating from 1954 to 1970, Kleinfelder shows how Picasso plays with the artist-model theme to extend, subvert, and parody both the possibilities and limits of representation. For Kleinfelder, Picasso's graphic work both mystifies and demystifies the creative process, venerates and mocks the effects of aging and the artist's self-image as a living "old master," and acknowledges and denies his own fear of death. Using recent interpretive and literary theory, Kleinfelder probes the three-way relationship between artist, model, and canvas. The dynamics of this relationship provided Picasso with an open-ended textual framework for exploring the dichotomies of man/woman, self/other, and vitality/mortality. What unfolds is the artist's struggle not only with the impossibility of representing the model on canvas, but also with the inevitability of his own death. Kleinfelder explores how Picasso's means of pursuing these issues allows him to defer closure on a long, productive career. By focusing on the graphics rather than the paintings, Kleinfelder contradicts the primacy of the painted "masterpiece"; she steers the reader away from the assumption that the artist must work toward creating a final body of work that signifies the culmination of his search for a coherent identify. Picasso's search, she argues, realizes itself in the creative process. She interprets the late graphics not as a biographical statement but as a tool for investigating the possibilities of representation within the limits of Picasso's medium and his lifetime. Richly illustrated, Kleinfelder's book will open up new approaches to the late work of this complex artist.