Texte remanié de: Diss.--Hamburg, 2000. / Bibliogr. p. 257-285. Notes bibliogr.

Thesis (Ph. D.)--Universität Osnabrück, 1986.

While Pablo Picasso internationally exhibited his paintings, he chose to expose his sculptures only through photographs. Picasso’s commitment to the photographic display of his sculpture comes to light through his fifteen year collaboration with Brassaï, the first photographer to collaborate regularly with the artist and the only one to engage thoroughly with Picasso’s sculptural oeuvre. This collaboration culminated in hundreds of images published largely on two occasions – a photo essay published in the avant-garde Journal Minotaure in 1933 and a catalogue covering almost fifty years of Picasso’s sculptural production published in French in 1948 and in English in 1949. These photographs, as well as unpublished prints, uncropped versions of the published photographs, and the contact sheets Brassaï assembled as he was photographing Picasso’s oeuvre are contextualized in light of contemporary theories regarding the presentation, representation, and dissemination of art. This case study sheds light on the way in which strategies of display shape art’s meaning, as well as the artist’s public image, reputation, and legacy.

While Pablo Picasso internationally exhibited his paintings, he chose to expose his sculptures only through photographs. Picasso’s commitment to the photographic display of his sculpture comes to light through his fifteen year collaboration with Brassaï, the first photographer to collaborate regularly with the artist and the only one to engage thoroughly with Picasso’s sculptural oeuvre. This collaboration culminated in hundreds of images published largely on two occasions – a photo essay published in the avant-garde Journal Minotaure in 1933 and a catalogue covering almost fifty years of Picasso’s sculptural production published in French in 1948 and in English in 1949. These photographs, as well as unpublished prints, uncropped versions of the published photographs, and the contact sheets Brassaï assembled as he was photographing Picasso’s oeuvre are contextualized in light of contemporary theories regarding the presentation, representation, and dissemination of art. This case study sheds light on the way in which strategies of display shape art’s meaning, as well as the artist’s public image, reputation, and legacy.

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Made available in DSpace on 2014-06-11T19:30:32Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T20:40:34Z : No. of bitstreams: 1 dalessandro_eap_me_ia.pdf: 3215422 bytes, checksum: 2bdb0c90836b2a363d73f414aadb4bba (MD5) / Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra. / Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.

Submitted by Simone Cristina Garcia (simonecristinag@gmail.com) on 2018-09-27T02:45:27Z No. of bitstreams: 2 Garcia-Simone-ceramica-Picasso.pdf: 9151340 bytes, checksum: 3dec65bec42647d4c9ecf14c826aa633 (MD5) Garcia-Simone-ceramica-Picasso.pdf: 9151340 bytes, checksum: 3dec65bec42647d4c9ecf14c826aa633 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-28T18:19:13Z (GMT) No. of bitstreams: 1 garcia_sc_me_ia.pdf: 9118875 bytes, checksum: c9b4a3345069b0b060faca6abb5ad48f (MD5) / Made available in DSpace on 2018-09-28T18:19:13Z (GMT). No. of bitstreams: 1 garcia_sc_me_ia.pdf: 9118875 bytes, checksum: c9b4a3345069b0b060faca6abb5ad48f (MD5) Previous issue date: 2018-06-19 / La thèse de maîtrise actuelle se réfère à l'œuvre céramique de l'artiste Pablo Picasso et sa relation avec l'Antiquité méditerranéenne. Il aborde la construction poétique des raisons qui ont conduit l'artiste à la poterie, son apprentissage, les boues, les fours et la technique utilisée, identifiant les éléments d'inspiration, les thèmes, les styles et le processus de création, les reliant au contexte social qui a influencé son travail. En identifiant les éléments, il a été remarqué qu'il a dialogué avec la poterie méditerranéenne traditionnelle, a innové et a sauvé les valeurs ancestrales et a ravivé les symboles et les mythes méditerranéens, les laissant "vivants". Tout son travail de la période de 1947 jusqu'à sa mort est un renouveau de l'Antiquité, et Picasso a influencé une génération d'artistes à produire de la poterie, et par sa réputation, l'art de l'argile, qualifié de "inférieur" par rapport aux Beaux-Arts, n'a jamais été le même. / A presente dissertação de mestrado refere-se a obra em cerâmica do artista Pablo Picasso e a sua relação com a Antiguidade Mediterrânea. Aborda a construção poética desde os motivos que levou o artista à cerâmica, o seu aprendizado, os barros, os fornos e a técnica utilizada, identificando os elementos de inspiração, os temas, estilos e o processo de criação, relacionando-os ao contexto social que influenciou seu trabalho. Ao identificar os elementos percebeu-se que Pablo Picasso enxergou na cerâmica uma forma de popularizar a sua arte, um desejo que nasceu após o seu envolvimento com a luta dos Republicanos na Guerra Civil Espanhola. Com esse propósito, ele dialogou com a cultura popular e a cerâmica tradicional mediterrânea, a inovou, resgatou os valores ancestrais e reviveu os símbolos e mitos mediterrâneos, deixando-os “vivos”. Toda sua obra do período de 1947 até a sua morte em 1973, é uma revisitação da Antiguidade e Picasso influenciou uma geração de artistas a produzirem cerâmica e através da sua reputação, a arte do barro, dita “inferior” em relação as Belas Artes, nunca mais foi a mesma. / The present Master's dissertation refers to the ceramic work of the artist Pablo Picasso and his relation with the Mediterranean Antiquity. It approaches the poetic construction from the reasons that took the artist to the pottery, its learning, the muds, the furnaces and the technique used, identifying the elements of inspiration, the themes, styles and the process of creation, relating them to the social context which influenced his work. In identifying the elements, it was noticed that he dialogued with the traditional Mediterranean pottery, innovated and rescued the ancestral values and revived the Mediterranean symbols and myths, leaving them "alive". His entire work from the period of 1947 until his death is a revival of antiquity, and Picasso influenced a generation of artists to produce pottery, and through his reputation, the art of clay, referred to as "inferior" in relation to Fine Arts, was never again the same. / La presente disertación de maestría se refiere a la obra en cerámica del artista Pablo Picasso y su relación con la Antigüedad Mediterránea. En el caso de la construcción poética desde los motivos que llevó al artista a la cerámica, su aprendizaje, los barros, los hornos y la técnica utilizada, identificando los elementos de inspiración, los temas, estilos y el proceso de creación, relacionándolos al contexto social que influenció su trabajo. Al identificar los elementos se percibió que él dialogó con la cerámica tradicional mediterránea, la innovó y rescató los valores ancestrales y revivió los símbolos y mitos mediterráneos, dejándolos "vivos". Toda su obra del período de 1947 hasta su muerte, es una revisión de la antigüedad, y Picasso influenció una generación de artistas a producir cerámica ya través de su reputación, el arte del barro, dicha "inferior" en relación a las Bellas Artes, nunca más fue la misma.

Cette étude se focalise sur l’examen conjoint des représentations du corps dans les œuvres de Pablo Picasso et de Raymond Duchamp-Villon. Afin d’apporter un éclairage nouveau sur la représentation du corps cubiste, notre objectif est d’examiner la portée de la connaissance de l’anatomie artistique, branche scientifique se rapportant non seulement à l’anatomie (au sens plus spécifique de l’ostéologie et de la myologie) mais aussi à l’étude de la proportion humaine, à la physiologie, la physionomie, l’ethnologie, l’anthropologie et la morphologie. En élaborant une nouvelle interprétation des images cubistes qui la relierait à la fois à la science anatomique et au classicisme dans le cadre de l’histoire de l’art, notre recherche ouvre une étude morphologique du cubisme à de multiples disciplines, comme l’esthétique et l’épistémologie. Si la recherche picturale de Picasso porte sur la structure du corps humain, Duchamp-Villon cherche pour sa part à représenter le dynamisme et la vitalité du corps. En d’autres termes, en partant des mêmes savoirs scientifiques ces deux artistes proposent deux modalités différentes de l’architectonique de la représentation du corps : se dispensant de théoriser cette architectonique, Picasso et Duchamp-Villon découvrent une expression du corps qui leur est propre. Par ce biais, nous cherchons à mettre en lumière les modalités par lesquelles le schéma cubiste se forme dans l’oscillation entre art et sciences, intuition et intelligence, subjectivité et objectivité, métamorphose organique des images et modélisation mécanique du corps. / This study focuses on the analyses of the representations of the human body in the works of Pablo Picasso and Raymond Duchamp-Villon during their cubist periods. In order to shed some new light on the representation of the body in the cubist works of these two artists, the importance and the modality of the artistic anatomy is examined. This includes branches of science related not only to the anatomy (specifically osteology and myology), but also to the study of human proportion to the physiology, physiognomy, ethnology, anthropology, and morphology. Developing a new interpretation of Cubist images that is linked both with anatomical science and classicism in art historical context, this research corresponds to a morphological study of Cubism in multiple disciplines, such as aesthetics and epistemology. In particular, this study's aim is to consider two different forms of architectonic representation of the cubist body, starting from the same scientific knowledge. If research of Picasso is concerned mostly with the structure of the human body, Duchamp-Villon's seeks the dynamism and vitality of the body: far from axiomatizing scientific knowledge, the two artists rectify it in their own way to discover their unique expressions. Through this, the method by which the cubist pattern is formed in the oscillation between art and science is clarified, between: intuition and intelligence; subjectivity and the objectivity; and organic metamorphosis of images and the schematization of the mechanical body.

This thesis investigates, analyzes, and discusses Picasso's imagery in the cultural context of the nineteenth-century Spanish tradition of flamenco. Two published photographs featuring the elderly artist with the gypsy guitarist Manitas de Plata initiated the study, and led me to the conclusion that selected works by Picasso were influenced psychologically, thematically, and formally by his youth which was spent in the Andalusian province of Malaga and later in Barcelona. Picasso's early artistic education occurred at precisely the same time and place as The Golden Age of Flamenco in Spain, a cultural phenomenon that profoundly affected both his life and art.

This senior thesis will primarily investigate artistic creativity, its relationship to psychological well-being and the power of the creative process to help harmonize internal tensions caused by either mental disorders or former traumas. I will accomplish this, first by offering a brief explanation of the evolution of creative thought, followed by various scientific explorations and theories of the connection between varying mental states and creation. I will support these findings with an analysis of the lives and works created by the painters Vincent Van Gogh, Pablo Picasso, and Frida Kahlo, all subjects of public speculation about the state of their mental health and its impact on their work. This analysis will consider the creative process as a form of psychotherapy. I will conclude by sharing a personal examination of my own history with mental health and trauma and my representation of these experiences and my ability to overcome these events in my paintings for this senior project.