What the Papers Say: Politics and Ideology in Picasso's Collages of 1912
1988; College Art Association; Volume: 47; Issue: 4 Linguagem: Inglês
10.1080/00043249.1988.10792431
ISSN2325-5307
Autores Tópico(s)Art, Politics, and Modernism
ResumoAbstractThe move Picasso made in 1912 away from the austerity of hermetic Cubism and towards a more explicit acknowledgment of life outside the studio has been carefully charted in histories of Cubism. Most recently Pierre Daix noted his change of companion, Eva for Fernande, and of locality, the café terraces of Montparnasse for the village bohemia of Montmartre, as contributory factors in the development of an art of everyday life whose iconography was that of the café table. Shortly after moving to his new studio on the Boulevard Raspail in October, Picasso began to explore the pictorial possibilities of papiers collés in a series of small charcoal drawings on paper that addressed subjects of everyday city life with a new freshness, making deft and lighthearted use of newspapers, food and drink labels, and sheet music. Additional informationNotes on contributorsDavid CottingtonDavid Cottington teaches at Falmouth School of Art & Design, England. He is currently completing a monograph on Cubism and the politics of culture in France.
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