Picasso: Painting Against Time (Hardcover First English Edition 2007) edited by  Werner Spies
Picasso: Painting Against Time (Hardcover First English Edition 2007) edited by  Werner Spies
Picasso: Painting Against Time (Hardcover First English Edition 2007) edited by  Werner Spies

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New Old Stock from Discontinued Book Shop 1 Copy Only New but due to its age, there will be faint cover/page yellowing and abrasion. Not for fussy buyers. Lowest Price Online for the book on The Most Important Picasso Exhibition in Recent History Albertina Museum Wien 22 Sep 2006 – 7 Jan 2007 Printed in Germany More than 200 works from some 60 lenders: Musée Picasso, Paris; Bernard Picasso, Metropolitan Museum, and Museum of Modern Art, New York; Tate Modern, London; Museo Reina Sofia, Madrid; Fondation Beyerler and Kunstmuseum, Basel; Museum Ludwig, Cologne; Museum Frieder Burda, Baden- Baden; as well as numerous private collections. With Essays by Georg Baselitz, Jean Clair, Marie Noëlle Delorme, Ann Hindry Norbert Miller, Werner Spies, Kerstin Thomas and Martin Warnke Foreword by Klaus Albrecht Schroder and Armin Zweite No other painter has had a more lasting influence on twentieth-century art than Pablo Picasso. Among the many phases and styles encompassed by his oeuvre, Picasso's late period--which he spent in Mougins, in the South of France, until his death in 1973--has a very special position. For the highly charged paintings that Picasso made during the last decade of his life, often featuring close-ups of the kiss or copulation, seem to cling with all their might to the artist's intense sensuality, his desire for embrace. They are marked by a great restlessness whose aim must be to exorcise death itself. "Wild" paintings rapidly executed by Picasso's masterly hand, the late canvases stand in marked contrast to the artist's detailed, carefully executed drawings of the same period, which are dominated by a unique joy in narrative. This substantial new volume, edited by Werner Spies, former director of the Centre Georges Pompidou in Paris and the most important Picasso expert of our day, examines almost 200 works, including paintings, drawings, prints and sculptures, shedding light on the specific methods and dialectics in Picasso's later work. In particular, the sense of the artist's race against time is made clear through the exciting dialogue that emerges here between painting and drawing. As Picasso himself said, "The works that one paints are a way of keeping a diary." A STYLE OF PAINTING, A STYLE OF DRAWING The »topicality« of Picasso’s late work, which is referred to in numerous exhibitions to authorize the art scene’s wild and expressive manner of painting, seems superficial, even a fake. Something decisive is being overlooked here: the »wild« Picasso had always, even during his very last years, had a reflective counterpart employing his memory and craft masterfully in the drawings. The contrast we encounter is so conspicuous and so significant that one feels bound to find a plausible reason for it. Obviously, Picasso’s distinction between a painter’s and a draughtsman’s style may be explained by his panic fear of time running out. A RACE AGAINST DEATH Pablo Picasso The Painter And His ModelHorror of and resistance against old age and death were reflected in the organization of working time. The work Picasso accomplished day after day seems to have been a rebellion against temporality and disappearance. This utilization of time leads us back to the »time in Mougins«, into the studio of Notre-Dame-de-Vie. One has the impression that the constant glimpse at the clock was in the foreground. To each of the daily performances in front of the easel or on the drawing sheet, the artist used to assign a certain amount of time. Starting out from this ever identical amount of time the artist invested in a work, a painting, drawing, etching, or sculpture was created. Thus the challenge the artist faced in the case of a large-sized canvas painting was much greater in terms of scope and organization than that of a drawing. RESTLESS CANVAS PAINTING That is why, taking this rule into account, a painting, for which there was not more time available than for an etching, could not be treated with the same meticulousness we generally encounter in the late graphic works. Restlessness was meant to exorcise death: this is illustrated by the late works that cling to sensuality and embrace with every fiber and display kissing and copulation as close-ups. We recognize a type of frenzy that is in no way inferior to Pollock’s or De Kooning’s. It leads to open pictures. No part of the canvas is privileged. LOVE SCENES, SELF-PORTRAITS, NUDES Everything strives for swiftness and abbreviation. In this context, Picasso developed a kind of hieroglyphic language that treats a subject contractively. The »fa presto« he employs leaves entire areas of the picture blank, i.e., white, all over again. This procedure tends to dissolve form. Colored areas overlap irregularly, with colors blending into one another. The paintings focus practically exclusively on the representation of the figure or couple. There are only few motifs: masquerades of cloak-and-dagger scenes (pictures of musketeers), self-portraits, amorous pastoral scenes, the subject of poorly matched lovers, nude figures. In retrospect one realizes that Picasso addressed dominant subjects of his time. METICULOUSNESS IN THE DRAWINGS In his drawings and prints, the artist continued to employ a meticulous technique. Outlines and graphic details remain largely precise and keenly observed. The time the artist has at his disposal in the medium of drawing, when working on smaller, reduced formats, is transformed into detail and accuracy. Also the variety of subject matters is guided by this temporal rhythm. The late drawings are marked by a unique love for narration. The exhibition Picasso – Painting Against Time attempts to trace these questions – questions of technique, iconography, and the works’ position in art history. Some 70 paintings, 40 drawings, 80 prints, and several »folding sculptures« underline the dialectic principle revealed by the drawn and painted oeuvres from the »years in Mougins«. Hardcover: 304 pages Publisher: Hatje Cantz 1st (Engish) ed 2007 Language: English ISBN-10: 3775719229 ISBN-13: 978-3775719223 Product Dimensions: 11.7 x 10.1 x 1.3 inches


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