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_a9780691209524 _qPDF |
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_a10.1515/9780691209524 _2doi |
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| 035 | _a(DE-B1597)9780691209524 | ||
| 035 | _a(DE-B1597)653192 | ||
| 035 | _a(OCoLC)1408681410 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
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| 050 | 4 |
_aN6853.P5 _bC595 2013 |
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| 072 | 7 |
_aART009000 _2bisacsh |
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| 082 | 0 | 4 |
_a709.2 _223 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aClark, T. J. _eautore |
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| 245 | 1 | 0 |
_aPicasso and Truth : _bFrom Cubism to Guernica / _cT. J. Clark. |
| 264 | 1 |
_aPrinceton, NJ : _bPrinceton University Press, _c[2023] |
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| 264 | 4 | _c©2013 | |
| 300 |
_a1 online resource (344 p.) : _b209 b/w illus. |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 347 |
_atext file _bPDF _2rda |
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| 490 | 0 |
_aThe A. W. Mellon Lectures in the Fine Arts ; _v35 |
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| 505 | 0 | 0 |
_tFrontmatter -- _tContents -- _tIntroduction -- _tLecture 1. Object -- _tLecture 2. Room -- _tLecture 3. Window -- _tLecture 4. Monster -- _tLecture 5. Monument -- _tLecture 6. Mural -- _tAcknowledgments -- _tNotes -- _tPhotography and Copyright Credits -- _tIndex |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
|
| 520 | _aA groundbreaking reassessment of Picasso by one of today's preeminent art historiansPicasso and Truth offers a breathtaking and original new look at the most significant artist of the modern era. From Pablo Picasso's early The Blue Room to the later Guernica, eminent art historian T. J. Clark offers a striking reassessment of the artist's paintings from the 1920s and 1930s. Why was the space of a room so basic to Picasso's worldview? And what happened to his art when he began to feel that room-space become too confined—too little exposed to the catastrophes of the twentieth century? Clark explores the role of space and the interior, and the battle between intimacy and monstrosity, in Picasso's art. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this volume remedies the biographical and idolatrous tendencies of most studies on Picasso, reasserting the structure and substance of the artist's work.With compelling insight, Clark focuses on three central works—the large-scale Guitar and Mandolin on a Table (1924), The Three Dancers (1925), and The Painter and His Model (1927)—and explores Picasso's answer to Nietzsche's belief that the age-old commitment to truth was imploding in modern European culture. Masterful in its historical contextualization, Picasso and Truth rescues Picasso from the celebrity culture that trivializes his accomplishments and returns us to the tragic vision of his art—humane and appalling, naïve and difficult, in mourning for a lost nineteenth century, yet utterly exposed to the hell of Europe between the wars.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DCPlease note: All images in this ebook are presented in black and white. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 06. Mrz 2024) | |
| 650 | 7 |
_aART / Criticism. _2bisacsh |
|
| 653 | _aAbjection. | ||
| 653 | _aAcademic art. | ||
| 653 | _aAphorism. | ||
| 653 | _aBanality (sculpture series). | ||
| 653 | _aBust of a Woman (Marie-Thérèse). | ||
| 653 | _aCarl Einstein. | ||
| 653 | _aCimabue. | ||
| 653 | _aClassicism. | ||
| 653 | _aClement Greenberg. | ||
| 653 | _aCollage. | ||
| 653 | _aConstantin Brâncu?i. | ||
| 653 | _aCubism. | ||
| 653 | _aDaniel-Henry Kahnweiler. | ||
| 653 | _aDe Stijl. | ||
| 653 | _aDora Maar. | ||
| 653 | _aEroticism. | ||
| 653 | _aFacsimile. | ||
| 653 | _aFalsity. | ||
| 653 | _aFarce. | ||
| 653 | _aFernande Olivier. | ||
| 653 | _aFine art. | ||
| 653 | _aFriedrich Nietzsche. | ||
| 653 | _aGerhard Richter. | ||
| 653 | _aGesso. | ||
| 653 | _aGiorgio de Chirico. | ||
| 653 | _aHorace Walpole. | ||
| 653 | _aHorror vacui. | ||
| 653 | _aIllusionism (art). | ||
| 653 | _aJackson Pollock. | ||
| 653 | _aJudith Butler. | ||
| 653 | _aKitsch. | ||
| 653 | _aLawrence Gowing. | ||
| 653 | _aLe Figaro. | ||
| 653 | _aLecture. | ||
| 653 | _aLes Demoiselles d'Avignon. | ||
| 653 | _aMa Jolie (Picasso, 1912). | ||
| 653 | _aMaenad. | ||
| 653 | _aMarc Chagall. | ||
| 653 | _aMarcel Duchamp. | ||
| 653 | _aMario Praz. | ||
| 653 | _aMichael Fried. | ||
| 653 | _aModern art. | ||
| 653 | _aModernity. | ||
| 653 | _aMural. | ||
| 653 | _aNegative space. | ||
| 653 | _aObscenity. | ||
| 653 | _aPablo Picasso. | ||
| 653 | _aPeggy Guggenheim Collection. | ||
| 653 | _aPhilip Larkin. | ||
| 653 | _aPicasso's Blue Period. | ||
| 653 | _aPicture plane. | ||
| 653 | _aPicturesque. | ||
| 653 | _aPrimitivism. | ||
| 653 | _aPsychoanalysis. | ||
| 653 | _aPulcinella. | ||
| 653 | _aRobert Rosenblum. | ||
| 653 | _aRoger Fry. | ||
| 653 | _aRoland Penrose. | ||
| 653 | _aRomanticism. | ||
| 653 | _aStill life. | ||
| 653 | _aSurrealism. | ||
| 653 | _aSwinging (sexual practice). | ||
| 653 | _aThe Artist at Work. | ||
| 653 | _aThe Charnel House. | ||
| 653 | _aThe Man With the Blue Guitar. | ||
| 653 | _aThe Painter and His Model. | ||
| 653 | _aThe Raft of the Medusa. | ||
| 653 | _aThe Three Dancers. | ||
| 653 | _aThree Musicians. | ||
| 653 | _aVenus Anadyomene. | ||
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9780691209524?locatt=mode:legacy |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780691209524 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780691209524/original |
| 942 | _cEB | ||
| 999 |
_c299859 _d299859 |
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