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Published on the occasion of the exhibition "Picasso Mosqueteros," held March 26 - June 6, 2009 at the Gagosian Gallery.
The catalog to an international art sensation – a once in a lifetime event of Picasso’s most prolific creative period – show opening at the Gagosian Gallery in London, June 2010. This volume features 3 single and 4 double gatefold illustrations and includes a detachable 23-page booklet of Picasso’s pencil and ink drawings. During the decade after the end of World War II Picasso began to spend more and more time in the Cote d’Azur where he began drawing on the Mediterranean sources that had inspired him in earlier years. Picasso’s return to the south marked a return to a family life as well – which in turn inspired him in the studio. In the 1950s his sculpture work evolved and he expanded into ceramics, lithography, printing and graphic design techniques. This latest Picasso exhibition from the Gagosian Gallery features a more private side to these prolific years – a dazzling coming together paintings, sculptures, prints and ceramics – many provided by of the pieces by Picasso’s grandson, Bernard Ruiz-Picasso and curated by Mr. Ruiz-Picasso and Picasso’s acclaimed biographer, Sir John Richardson. This is certain to garner as much press attention as Gagosian’s “must see” Picasso Mosqueteros exhibition in 2009.
Published on the occasion of the exhibition "Picasso: Themes and Variations" held at the Museum of Modern Art, New York, N.Y., Mar. 24-Sept. 6, 2010.
This publication explores Picasso’s portrayals of life with Gilot and their young family in the decade they spent together. Françoise Gilot was a young budding painter when she met Picasso by chance at a café in 1943. The subsequent ten years spent together was a time of transformation in Picasso’s paintings that coincided with revolutionary inventions in lithography, sculpture, and ceramics. Picasso: L’Epoque Françoise presents for the first time several of Gilot’s paintings and drawings from the period alongside Picasso’s when the young painter was maturing while the elder continued to change the face of modern art. The fully illustrated catalogue includes a historic dialogue between Richardson and Gilot celebrating Picasso’s innovation in every medium during the postwar years of renewal.
Includes essays: Warhol, the Exorcist by John Richardson; Ileana & Andy: a study in counterpoint by Brenda Richardson.
Pablo Picasso’s endless fascination with his lover’s character and form led to radical shifts in his conception of portraiture and the mystical metamorphoses that the act of creation entails. Picasso’s secretive love affair with Marie-Therese Walter, which began in 1927, inspired a radical shift in his conception of portraiture. The exhibition and catalogue present Marie-Therese as a primary vehicle for his experimentation during the period, including several works never before seen in the United States as well as previously unpublished personal letters and photographs. Picasso and Marie-Therese sheds new light on the interpretation of one of the most creative relationships in Picasso’s rich and varied oeuvre.
Curated by noted Picasso biographer John Richardson, this exhibition catalogue examines the intersection of Picasso's bullfighting imagery with the mythological (and biographical) compositions of the 1930's. Including works dating from 1897 to 1972, this fully illustrated catalogue presents a career-long survey of Picasso's engagement with ancient bullfighting and mythological narratives and includes essays by noted Picasso scholars Michael FitzGerald and Gertje Utley.
This publication presents a comprehensive catalogue of the works by Pablo Picasso in the Metropolitan Museum. Comprising 34 paintings, 59 drawings, 12 sculptures and ceramics, and more than 400 prints, the collection reflects the full breadth of the artist's multi-sided genius as it asserted itself over the course of his long career.
ABOUT THE BOOK Pablo Picassos name and art is recognizable across the globe. His art is so famous that even folks with hardly any interest in the art world know his name, and have probably seen at least one of his paintings before. Widely considered to be one of the most important artists of the 20th century, Picasso is a staple in any discussion of art history. The Spanish artist is best known for helping create and inspire Cubism, a visual art style in which subjects are painted with geometric forms in a highly abstract way. While Picassos name has become synonymous with Cubism, it was actually another artist who gave the movement its name. The term was coined by French art critic Louis Vauxcelles after seeing landscape paintings by French artist Georges Braque. Vauxcelles called the geometric forms in the paintings cubes. MEET THE AUTHOR Based in the San Francisco Bay Area, Karen Lac has been writing since 1999. Her articles have appeared in print in The Occidental Weekly. Her writing reflects her broad interests. She writes travel, entertainment, political commentary, health, nutrition, food, education, career, and legal articles for numerous websites. She holds a Bachelor of Arts in English Literature and a Bachelor of Arts in politics, both from Occidental College. EXCERPT FROM THE BOOK With a painter and art teacher for a father, Picasso was immersed in art from an early age. His mother claimed that Picassos first word was piz, short for lapiz, or pencil. Picassos father gave him his first art lessons and clearly shared his love of drawing pigeons with the young boy; at age nine, Picasso drew Bullfight and Pigeons, in which spectators watch matadors face off against a bull and pigeons are suspended upside down in the air. Recognizing his young sons extraordinary talent, his father made sure that Picasso received formal art training from the age of eleven. In 1891, the family moved north to La Coruna. In 1895, tragedy struck the Picasso household when his seven-year-old sister, Conchita, died of an upper respiratory tract illness. Watching Conchita die, Picasso made a deal with God that he would sacrifice his artistic gift if only he would save Conchita. After Conchitas death, Picasso painted several paintings, including the First Communion, Christ Blessing the Devil, The Holy Family in Egypt, and Altar to the Blessed Virgin, all of which showcased his conflicting feelings over the Catholic faith. Buy a copy to keep reading! CHAPTER OUTLINE Biography of Pablo Picasso + Introduction + Background and upbringing + Major accomplishments and awards + Personal life + ...and much more
The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part. The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern: ■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals; ■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours; ■ the information to be provided to the public: announcements, posters, advertising, parades; ■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term; ■ sets, lighting, sound, makeup, costumes, props; ■ the relations established between actor and spectator; ■ the means of transport adopted by actors and even by spectators. Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.