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Author: Pablo Ruiz y Picasso
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Languages : en
Pages : 0
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Author: Pablo Ruiz y Picasso
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Languages : en
Pages : 0
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Author: William Beadleston, Inc
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Category :
Languages : en
Pages : 114
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Author: Pablo Picasso
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Category : Art
Languages : en
Pages : 107
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Category : Drawing
Languages : en
Pages : 0
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Author: Dr Enrique Mallen
Publisher: Liverpool University Press
ISBN: 1782847197
Category : Biography & Autobiography
Languages : en
Pages : 384
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Although Pablo Picasso spotted Dora Maar at a cafe in January 1936 it is highly likely that she had come to his attention prior. As Brassaï, a Hungarian-French photographer, recalled, 'It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora. On an earlier day, he had already noticed the grave, drawn face of the young woman at a nearby table, the attentive look in her light-colored eyes, sometimes disturbing in its fixity. When Picasso saw her in the same cafe in the company of the surrealist poet Paul Éluard, who knew her, the poet introduced her to Picasso' (Brassaï, a.k.a. Gyula Halász, Conversations with Picasso [University of Chicago Press, 1999]). Tinged with a seductive mix of violence and dark eroticism, this first meeting has attained mythical status in the story of the artist's life. It reads like an unreal fantasy. A mysterious and feline beauty, which Man Ray had captured in the pictures he took of her, a companion of Georges Bataille, Dora was an accomplished photographer, close to the Surrealists revolutionary aesthetics. Picasso addressed her in French, which he assumed to be her language; she replied in Spanish, which she knew to be his. For the next decade, the painter would translate not just his fascination with the woman who had seduced him on the spot, but also his desire to escape the grip of someone who, for the first time, could intellectually aspire to be his equal. Dora would appear in his works as a female Minotaur, a Sphinx, a lunar goddess and a muse. Because of her intense artistic sensibility, her poetic gifts and her ability to participate in suffering, she was especially qualified to resonate Picasso's own inner torments during these troubled years.
Author: Dr Enrique Mallen
Publisher: Liverpool University Press
ISBN: 1836242808
Category : Biography & Autobiography
Languages : en
Pages : 403
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This book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.
