From first to last, Picasso's prime subject was the human figure and portraiture remained a favourite genre. His earliest portraits were done from life and reveal a precocious ability to catch likeness and suggest character and state of mind. B y 1900 Picasso was producing portraits of astonishing variety and thereafter they reflected the full range of his innovative styles - symbolist, cubist, neoclassica l, surrealist, expressionist. B ut however extreme his departur e from representational conventions, Picasso ...
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From first to last, Picasso's prime subject was the human figure and portraiture remained a favourite genre. His earliest portraits were done from life and reveal a precocious ability to catch likeness and suggest character and state of mind. B y 1900 Picasso was producing portraits of astonishing variety and thereafter they reflected the full range of his innovative styles - symbolist, cubist, neoclassica l, surrealist, expressionist. B ut however extreme his departur e from representational conventions, Picasso never wholly abandoned drawing from the sitter or ceased producing portraits of classic beauty and naturalism. For all his radical originality, Picasso remained in constant dialogue with the art of the past and his portraits often alluded to canonical masterpieces, chosen for their appropriateness to the looks and personality of his subject. Treating favourite Old Masters as indecorously as his intimate friends, he enjoyed caricaturing them and indulging in fant asies about their sex lives that mirrored his own obsession with the interaction of eroticism and creativity. His late suites of free ' variations ' after Vel???zquez's Las Meninas and Rembrandt's The Prodigal Son , both of which involve self - portraiture, allow ed him to ruminate on the complex psychological relationship of artist and sitter, and continu ities between past and present. When Picasso depicted people in his intimate circle, the nature of his bond with them inevitably influenced his interpretation. T he focus of this book is not, however, Picasso's life story but his creative process, and, although following a broadly chronological path, its chapters are structured thematically. Issues addressed in depth include Picasso's exploitation of familiar pose s and formats, his sources of inspiration and identification with favourite Old Masters, the role of caricature in his expressive conception of portraiture, the relationship between observation, memory and fantasy, critical differences between his portray al of men and women, and the motivation behind his defiance of decorum and the extreme transformation of his sitter's appearance.
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Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!
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Seller's Description:
Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD Oversized.
Publisher:
National Portrait Gallery, London, and Museu Picasso, Barcelona
Published:
2016
Language:
English
Alibris ID:
14469094310
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Seller's Description:
Very Good in Very Good jacket. 256 pages. English language edition. Hardcover exhibition catalogue, bound in black cloth covered boards and wrapped in an illustrated paper dustjacket. Foot of the spine is bumped. Else, the binding is tight and solid, with otherwise sharp edges and corners on the other boards, and a clean, unmarked interior. Published on the occasion of the exhibition held in London from October 6, 2016-February 5, 2017; and in Barcelona from March 16-June 25, 2017.
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New. 1855145421. *** FREE UPGRADE to Courier/Priority Shipping Upon Request ***-*** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-Flawless copy, brand new, pristine, never opened. --with a bonus offer--