Gertrude Stein's Personal Vision Of Pablo Picasso
Gertrude Stein's novel Picasso shows the engagement of a great literary artist with that of a great artist of the canvas. It melds Stein's forceful, direct, and spare prose with the images of Picasso and images of the artists that inspired his work. Stein hoped to create images with her words, of childlike sparseness and clarity, a similar aim, she states, of Picasso's art. Thus, her book is both illustrative, in the sense that it shows a titanic author of letters grappling with the similar implications of the 'plastic' arts in the modern world, though also rather biased, given that Stein's ego as an author occasionally causes her to see her own artistic aims in the artistic works of Picasso.
Stein states that Picasso rendered himself through the bodies of other individuals, creating not a visual exhibition of prostitutes in his first foray into cubism, Les Demoiselles d'Avignon of 1907, but rather a text of his inner self and life. But Stein's tendency to look into a mirror rather into Picasso's own work can be seen in her stress upon repetition in this and other parts of Picasso's collective works. Stein's own use of the literary technique of repetition was extremely effective. It is true that Picasso did make use of similar shapes and images in this first cubist work. He also used reoccurring motifs of color, as evidenced in the paintings of the blue and rose periods that form the focus of a number of Stein's works upon the artist, as well as the browns and grays of Les Demoiselles d'Avignon. Picasso also was fond of looking at repeatedly returning to subjects whom he had relationships with, such as his later series of "Dora" portraits, a commonality of Stein, whose most famous work is...
Pablo Picasso is noted by the majority of critics as the most important influence of twentieth century art (Picasso pp). Art critic Robert Hughes once stated, "To say that Pablo Picasso dominated Western art in the 20th century is, by now, the merest commonplace" (Picasso pp). Long before his fiftieth birthday, Picasso had become "the very prototype of the modern artist as public figure ... No painter before him had
Classicism and surrealism After the World War 1, neoclassical style of artwork was seen by Picasso. The paintings done by Picasso in this period were akin to the work done of Ingres and Raphael. It was in the 1930s when harlequin was substituted with minotaur. His utilization of minotaur was partially due to his connection with surrealists, who even now and then made use of it as their representation. During the Spanish
250). At this point in his career, Picasso could represent Stein quite well. The style is neither abstract nor entirely avant-garde: it is reflective, slightly off-kilter, but encompassing of the subject and her character. Picasso's portrait of Gertrude Stein, therefore, must be considered the better of the two, even if Rose's appears to be the more dynamic. Rose was an imitator, not exactly an orginal -- but then, could the
Gertude Stein. Gertrude Stein It is difficult to think of 1920's Paris without recalling Gertrude Stein. A friend to some of the most prominent artists and writers of the 20th century, Stein is not only known for her own accomplished writing contributions, but also for her personal lifestyle. Gertrude Stein was born in 1874 near Pittsburgh, Pennsylvania. She attended Radcliffe from 1893-1897, where she was a student of William James. One day
Modernism That Interests You Gertrude Stein and Modernism Gertrude Stein had been an American feminist, poet, playwright, writer, as well as, the means in the growth and expansion of modernism western art and prose. However, she had spent the majority of her life in France. If the term "modernism" stands for the need of an individual refusing earlier customs, as well as, by designing personal methods, creating compositions which have been
Picasso: The Image of Modern Man Picasso came to Paris from Malaga, Spain, a town known for its bull-fighters. Picasso in his less experimental days he depicted these bull fights in a number of pencil sketches that captured the flare, dynamism and thrill of the arena. However, he never content to simply reflect in a realistic way the world around him. Society was changing the very first years of the 20th
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