By Lisa Florman
Past experiences of Picasso's involvement with the classical have tended to be aware of the interval instantly following the 1st international struggle, and to characteristic that involvement to either the increase of political conservatism in France and the domesticating impression of the artist's marriage to Olga Koklova. Focusing in its place at the later, classicizing prints of the Nineteen Thirties, this e-book bargains a substantially diversified view of Picasso and the "classical"—a view that aligns his paintings even more heavily with Surrealist, and particularly Bataillean, revisions of antiquity.
The book's argument is outfitted round certain analyses of a number of separate print sequence: Picasso's illustrations for Ovid's Metamorphoses, the etchings of the Vollard Suite, and The Minotauromachy. universal to them all, the publication exhibits, is a robust engagement not just with the classical, yet with the viewer. within the latter, Picasso's prints are sincerely at odds with the knowledge of the connection among classical paintings and its viewers that prevailed all through many of the 19th and 20th centuries—an figuring out that held the work's purported autonomy to reflect the viewer's personal. by way of exposing that autonomy as a fable, Picasso opens the "classical" paintings and its viewer alike to the entanglements of hope and the dissolution of obstacles it necessarily brings.
a lot of the argument activates shut readings of key Surrealist texts by means of Georges Bataille, Michel Leiris, and Roger Caillois. much more very important, despite the fact that, are the prints' various references, heretofore not noted, to precise works via, between others, Rubens, Rembrandt, and Goya. those references successfully create another "classical" culture out of which Picasso's etchings may be obvious to have emerged.
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Extra info for Myth and Metamorphosis. Picasso's Classical Prints of the 1930s
Sample text
2 Metamorphic Images: Picasso’s Illustrations of Ovid 14 – 15 On the surface at least, Picasso’s return to a classicizing mode in his prints of the 1930s seems a surprising development. Not only was much of his other work from that period in a decidedly surrealist vein, but the artistic and political climate guaranteed that the move would be fraught with ideological implications. Moreover, the specific circumstances of his return—a collaboration with Albert Skira on the young man’s very first publishing venture—were hardly more auspicious.
38 Yet despite the extent of these changes, Rubens’s work was evidently crucial to the project.
38 Yet despite the extent of these changes, Rubens’s work was evidently crucial to the project.