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Picasso Retrospective 回顾展

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楼主
发表于 2-4-2025 10:36:59 | 只看该作者 回帖奖励 |倒序浏览 |阅读模式
本帖最后由 choi 于 2-4-2025 10:57 编辑

Eric Gibson, Paper Prestidigitator; With nearly 300 works, a show at the Cleveland Museum of Art illuminates how the ever-innovative artist used paper as a medium and a material of seemingly endless applications.
Wall Street Journal, Jan 30, 2025, at page A.
https://www.wsj.com/arts-culture ... -cleveland-085ce7b2

Note:
(a)
(i) This is art review on
Picasso and Paper. Cleveland Museum of Art, Dec 8, 2024 Mar 23, 2025.
https://www.clevelandart.org/exhibitions/picasso-and-paper
(ii) This exhibition is on American tour of the same, earlier exhibition
Picasso and Paper. London: Royal Academy of Arts, Jan 25 - 2 Aug 2, 2020, whose review was
Daisy Dunn, The chaotic habit behind Picasso's genius work. BBC, Feb 17, 2020.
https://www.bbc.com/culture/arti ... ssos-hoarding-habit
(A) United Kingdom does not have Royal Academy of Science, but Royal Society instead. See Royal Academy (disambiguation).
https://en.wikipedia.org/wiki/Royal_Academy_(disambiguation)
(B) Royal Academy of Arts
https://en.wikipedia.org/wiki/Royal_Academy_of_Arts
(1768- ; acronym: RA)
(C) Despite its name, RA is an non-government, nonprofit organization. See About the RA. RA, undated
https://www.royalacademy.org.uk/about-the-ra
("We're run by the Royal Academicians [which is what a member is called], artists and architects elected by their peers in recognition of their exceptional work. We're home to Britain's longest established art school, the RA Schools. * * * We have a lot in common with museums and other galleries, but as an Academy, we have a broader role – to promote not just the appreciation and understanding of art, but also its practice.   Just as our founders intended, we are still led by many of the greatest artists and architects of the day. * * * We are an independent charity [which is sectional heading:] Unlike most of our peers, we don't receive revenue funding from the government and so we are reliant upon the support of visitors, donors, sponsors, and the loyal Friends of the Royal Academy to continue our work")
(D) Contrast Royal Society (1660- , being world's oldest scientific academy) has the monarch as patron and a president elected among members who are called fellows, provides grants to scientific research (whose grants pale in size compared with grants of this purpose from government of England and Wales), and is a registered charity. See also
Funding and Finances. Royal Society, undated (for the year ended Mar 31, 2024)
https://royalsociety.org/about-u ... d/funding-finances/
("To ensure our independence, the Royal Society is funded from a variety of sources: private support and government grants)
There is no need to read the rest, which is not very informative.

Charity Commission for England and Wales, undated (charity number: 207043; for financial year ending Mar 31, 2024)
https://register-of-charities.ch ... rity-details/207043
("Total income: £396,290,000 * * * Total income includes £112,718,000 from 5 government grant(s)" or 28.4%)


(b) " 'Picasso and Paper' opens with  two small paper cutouts, one of a dove and the other of a dog, made when Picasso was about 9 years old. * * * Exhibit A in this regard [collage] is 'Glass, Bottle of Wine, Packet of Tobacco, Newspaper' (1914). The still-life image comprises actual paper (newsprint and tobacco wrapping), fictive paper (a green cutout marked up to look like wallpaper) and a representation of paper (the penciled word 'VIN' symbolizing the label on the wine bottle).   Later we encounter another collage made entirely from pieces of wallpaper, 'Women at Their Toilette' (1937-38), depicting the three women in Picasso's life: his wife Olga Khokhlova and sometime partners Dora Maar and Marie-Thérèse Walter, one of them holding a portrait of the artist. Here, wallpaper’s role has been reversed."
(i) dove and dog paper cutout. shutterstock (Stock Image ID: 10531759u; photo from RA2020 exhibition)
https://www.shutterstock.com/edi ... aper-1890-10531759u
(ii)
(A) Verre, bouteille de vin, paquet de tabac, journal   Glass, Bottle of Wine, Packet of Tobacco, Newspaper (1914; in the collection of "musée national Picasso-Paris")
https://www.photo.rmn.fr/archive/16-537358-2C6NU0A6VMVMV.html
• Most items in this exhibition are from Musée Picasso, which nonetheless does not currently displays any photo of them (because they are not in exhibition there).
• RMN in the URL stands for R des Musées Nationaux
https://en.wikipedia.org/wiki/Réunion_des_Musées_Nationaux
(B) English dictionary:
* fictive (adj): "not genuine : feigned"
https://www.merriam-webster.com/dictionary/fictive
(C) The French words vin and réunion are defined in Note (c)(iii)(B) below.
(iii) Femmes à leur Toilette   Women at Their Toilette. Musée Picasso, undated (MP176).
https://www.museepicassoparis.fr/fr/femmes-le
Google Translate: Produced in the studio of the Grands-Augustins during the winter of 1937-1938, this monumental work is a direct descendant of Guernica (1937, Museo Nacional Centro de Arte Reina Sofía, Madrid).
(A) Rue des Grands-Augustins
https://en.wikipedia.org/wiki/Rue_des_Grands-Augustins
(in Paris; section 2 Notable residents)
(B) Guernica (Picasso)
https://en.wikipedia.org/wiki/Guernica_(Picasso)
(bombing in the town of the same name)
• Guernica
https://en.wikipedia.org/wiki/Guernica
(pronunciation’ table: Movement[:] Cubism, Surrealism)
• Spanish pronounces gu in front of vowel e or i the same as g in English noun gun.
https://www.123teachme.com/learn_spanish/pronunciation_g_gu
(in Spanish: "The letter g has a different pronunciation when combined with all vowels. When it is accompanied by the vowels 'a, o, u' it is pronounced as in the word 'go' in English. When it is accompanied by the vowels 'e, i' it is pronounced as an 'h' in the word 'hope.' In order for it to sound as a "g" as in the word "go" with the vowels 'e, i,' we must add a 'u' gu")

In Spanish, gu in front of a or o is pronounced like gw.
(C) Descendant. Why?  This is because Femmes à leur Toilette is in Surrealism style.
• Surrealism. London: Tate, undated
http://tate.org.uk/art/art-terms/s/surrealism
("Surrealism aims to revolutionise human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams. The movement's artists find magic and strange beauty in the unexpected and the uncanny, the disregarded and the unconventional")
• "Surrealism is an art and cultural movement that developed in Europe in the aftermath of World War I" (en.wikipedia.org for Surrealism). An example: The Persistence of Memory (by artist Salvador Dalí in 1931).
https://en.wikipedia.org/wiki/The_Persistence_of_Memory


(c) "the extraordinary 'Head of a Woman' (1962). Here, Picasso took a sheet of regular drawing paper, sketched in the face and exposed breasts of a woman, scissored it out of the sheet to form a silhouette image, and cut out a section of the interior. He then folded it in three places along its vertical axis so it could stand on one edge like a screen. Once again, multiple levels of reality coexist. The work is a drawing that is also a sculpture, a frontal view that includes a profile view. And in this work the ever-competitive Picasso is responding to the cutout technique pioneered by Henri Matisse in the 1940s, in which the artist composed an image by scissoring paper shapes, covering them with gouache and attaching them to a support."
(i) Picasso created many arts titled "Head of a Woman" or "Woman's Head" -- in paintings and sculptures and with (cut and painted) sheet metal -- but just one paper cut-out.
(ii) The en.wikipedia.org does not have a page for this paper cutout.
(iii) The BBC art review noted in Note (a)(ii) is hyperlinked to the 2020 Royal Academy exhibition of the same name, whose Web page contained little information. However, the following did:  
Julian Bell, On the paper trail of Pablo Picasso. RA, Jan 8, 2020
https://www.royalacademy.org.uk/ ... d-paper-julian-bell
(Description of this papercut is: Tête de Femme (Head of a Woman, Mougins, December 1962; 42 x 26.5 cm; [in collection of] Musée national Picasso-Paris. Pablo Picasso gift in lieu, 1979. MP1850)
, where MP1850 is the accession number of the museum, with MP standing for Musée national Picasso-Paris. My guess is confirmed in
Calder-Picasso. Musée Picasso Paris, février 19 - aout 25, 2019 ("Dossier Pedagogique"), at page 31 (where to the right of paper cutout was sheet metal art of the same title, by Picasso).
https://www.museepicassoparis.fr ... sso_paysage_web.pdf
, whose English-language Web page was
https://www.museepicassoparis.fr/en/calder-picasso
("Alexander Calder and Pablo Picasso – two of the most seminal figures of twentieth-century art")
(A) Mougins
https://en.wikipedia.org/wiki/Mougins
("Pablo Picasso spent the last 12 years of his life living in Mougins (1961–1973), where he died and lived in a 'mas' (farmhouse) at Notre-Dame-de-Vie, which is a small hilltop just beside the old village of Mougins and next to the 12th-century chapel of the same name. Picasso's studio was in the old village in a building that is now the tourist office")
was where the paper cutout was made. There is no online English dictionary that tells you how to pronounce it in the English-speaking world.
(B) French-English dictionary:
* vin (noun masculine; from Latin [noun neuter] vīnum [wine]): "wine"
https://en.wiktionary.org/wiki/vin
* réunion (noun feminine; from [verb] réunir [gather, meet]): "meeting [gathering]"
https://en.wiktionary.org/wiki/réunion
* à (preposition): "at [time or place]"
https://en.wiktionary.org/wiki/à
* leur (pronoun masculine or feminine plural): "them"
         (determiner): "their"
https://en.wiktionary.org/wiki/leur
* The French noun feminine toilette bred, and means the same as, English noun toilet. Buit what does English noun mean in this context?
# toilet (n; etymology): "4: (obsolete) a covering of linen, silk, or tapestry, spread over a dressing table in a chamber or dressing room (17th–19th c.)
                   * * *
                   6: (now historical or archaic) personal grooming; the process of washing, dressing and arranging the hair  (from 17th c.)
                    * * *
                   8: (archaic) a dressing room (from 19th c.)"
https://en.wiktionary.org/wiki/toilet
# toilet (n; etymology): "2: the act or process of dressing and grooming oneself"
https://www.merriam-webster.com/dictionary/toilet
   ^ How do the French pronounce the French noun toilette?  This English dictionary faithfully reproduces it with phonetic symbols: toilette (n)
   https://www.merriam-webster.com/dictionary/toilette
   However if you listen to its French pronunciation, the stress / accent of the word is not so clear (as one will expect from the phonetic symbols). See next.
   ^ French phonology
   https://en.wikipedia.org/wiki/French_phonology
   (section 3 Stress: "Word stress is not distinctive in French * * * The difference between stressed and unstressed syllables in French is less marked than in English")
* mas (noun masculine; borrowed from Occitan [noun masculine] mas [farmhouse], from Latin mānsum [an inflection of verb manēre to stay (which also gave rise to English noun mansion)] )
https://en.wiktionary.org/wiki/mas
* hôtel (noun masculine; etymology): "mansion, hotel"
https://en.wiktionary.org/wiki/hôtel
* salé (adjective/ past participle masculine; from verb saler [to salt]): "salted"
https://en.wiktionary.org/wiki/salé
* février (noun masculine): "February"
https://en.wiktionary.org/wiki/février
   ^ February
   https://en.wikipedia.org/wiki/February
   (section 2 History)
* août (noun masculine): "August"
https://en.wiktionary.org/wiki/août
   ^ The eighth months (août in French and August in English) are both derived from Latin Augustus (adjective meaning majestic and (later) proper noun for the eighth month).
   ^ August
   https://en.wikipedia.org/wiki/August
("The month was originally named Sextilis in Latin because it was the 6th month in the original ten-month Roman calendar under Romulus in 753 BC, with March being the first month of the year. About 700 BC, it became the eighth month when January and February were added to the year before March by King Numa Pompilius, who also gave it 29 days. Julius Caesar added two days when he created the Julian calendar in 46 BC (AUC 708), giving it its modern length of 31 days.   In 8 BC, the month was renamed in honor of Emperor Augustus. According to a Senatus consultum quoted by Macrobius, he chose this month because it was the time of several of his great triumphs, including the conquest of Egypt")  )=(footnotes omitted)
(C) Musée Picasso
https://en.wikipedia.org/wiki/Musée_Picasso
("located in the Hôtel Salé (English: Salé Hall) [in Paris] * * * [the first owner of the building] became rich collecting the gabelle or salt tax (the name of the building means 'salted'). * * * More than 5,000 works were donated by Picasso's family after his death in 1973 under a law permitting heirs to contribute art in lieu of tax payments")
, whose English website
https://www.museepicassoparis.fr/en/
states, "The City acquired the house in 1964 and the property was granted Historical Monument status [in 1968]" (which also states that salé means salty). The French government owns the museum, which the preceding link does not mention.
(D) Alexander Calder
https://en.wikipedia.org/wiki/Alexander_Calder
(1898-1976; American sculptor)
(D) If one googles ("gift in lieu" dictionary), he will learn that this is a legal term, from both the en.wikipedia.org for honorarium (money given to a speaker) ("In the case where a gift is substituted for honorarium (gift in lieu of money), it is still classified as a taxable benefit by Canada Revenue Agency") and Legal Terms Dictionary in LegalBriefAI.com ("Gift in Lieu of Payment: 'The artist accepted a painting in lieu of payment for the commissioned work, satisfying both parties' needs' ").

In the case of Musée Picasso, "gift in lieu" is short for gift in lieu of estate tax 遗产税.


(d) " 'Les Demoiselles d'Avignon' (1907), the painting that launched the Cubist revolution * * * [Picasso's] late-career interpretations of Eugène Delacroix's 'Women of Algiers' (1834) and Edouard Manet's 'Dejeuner sur L'Herbe' (1863)."
(i)
(A) Les Demoiselles d'Avignon
https://en.wikipedia.org/wiki/Les_Demoiselles_d%27Avignon
(table: Movement[:] Proto-Cubism)
(B) Cubism. Tate, undated
https://www.tate.org.uk/art/art-terms/c/cubism

subtitle: "Cubism was a revolutionary new approach to representing reality invented in around 1907–08 [please take notice of the year of Les Demoiselles d'Avignon' (1907)] by artists Pablo Picasso and Georges Braque. They brought different views of subjects (usually objects or figures) together in the same picture, resulting in paintings that appear fragmented and and abstracted

paragraph 1: "Cubism was one of the most influential styles of the twentieth century. It is generally agreed to have begun around 1907 with Picasso's celebrated painting Demoiselles D'Avignon which included elements of cubist style. The name 'cubism' seems to have derived from a comment made by the critic Louis Vauxcelles who, on seeing some of Georges Braque's paintings exhibited in Paris in 1908, described them as reducing everything to 'geometric outlines, to cubes.'

(C) Tate
https://en.wikipedia.org/wiki/Tate
(1897- ; was named "after sugar magnate Henry Tate of Tate & Lyle, who had laid the foundations for the collection"/ section 3 Administration and funding)
(D) Georges Braque
https://en.wikipedia.org/wiki/Georges_Braque
(1882-1963; French’ View the paintings on the right margins of the Wiki page, and see the trending toward Cubism)

Quote:

"On Nov 14, 1908, the French art critic Louis Vauxcelles, in his review of Georges Braque's exhibition at Kahnweiler's gallery called Braque a daring man who despises form, 'reducing everything, places and a figures and houses, to geometric schemas, to cubes.'

"In contrast to Picasso, who continuously reinvented his style of painting, producing both representational and cubist images, and incorporating surrealist ideas into his work, Braque continued in the Cubist style * * *

(ii) "late-career interpretations of Eugène Delacroix's 'Women of Algiers' (1834)"
(A) Women of Algiers
https://en.wikipedia.org/wiki/Women_of_Algiers
(French: Femmes d'Alger dans leur appartement; Eugène Delacroix had two paintings of the same title: 1834 and 1847-1849; section 5 See also)
, which does not mention Picasso.
(B) Les Femmes d'Alger
https://en.wikipedia.org/wiki/Les_Femmes_d%27Alger
(iii)
(A) Le Dejeuner sur L'Herbe
https://en.wikipedia.org/wiki/Le_Déjeuner_sur_l%27herbe
(section 7 Inspired works: "Manet's painting inspired Picasso as he completed the largest concentration of art prompted by a single work during the 20th century, consisting of 27 paintings, 140 drawings, 3 linogravures and cardboard marquettes for sculpture carried out between 1949 and 1962")
(B) Of which, • Barcelona: Museu Picasso has one linogravure and one painting;
https://museupicassobcn.cat/en/w ... pth-look-work-manet
• Washington, DC: National Gallery of Art has one;
https://www.nga.gov/collection/art-object-page.152486.html
• Musée Picasso has six;
https://www.musee-orsay.fr/fr/ag ... dejeuner-sur-lherbe
(please note that painting 2 in Museu Picasso is DISTINCT from painting 1 on this link, and that museu in Catalan means the same as Spanish museo, both being nouns masculine)
(iv) French-English dictionary:
* dans (preposition): "in"
https://en.wiktionary.org/wiki/dans
* dejeuner (noun masculine; from [prefix] de- [similar to English prefix un-] + [verb] jeuner [to fast]): "lunch"
https://en.wiktionary.org/wiki/déjeuner
* sur (preposition): "on"
https://en.wiktionary.org/wiki/sur
   ^ In comparison, in Spanish: sur (noun masculine; borrowed and modified from French [noun masculine] sud [south]): "south"
      Therefore, Big Sur (meaning Big South' the pronunciation of Sur in Big Sur is Americanized from Spanish where u is always pronounced the same as the vowel in English verb put)
      https://en.wikipedia.org/wiki/Big_Su
* herbe (noun feminine; from Latin [noun feminine] herba [grass]): "grass"
https://en.wiktionary.org/wiki/herbe


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沙发
 楼主| 发表于 2-4-2025 10:37:24 | 只看该作者
----------------WSJ
Cleveland

The best-kept secret of the current art season—at least to judge by the absence of prior national news coverage—is “Picasso and Paper” at the Cleveland Museum of Art, through March 23. Note that it’s “and,” not “on,” paper. While there’s plenty of the familiar sort of paper-based work in the show—drawings and prints—its main thrust is exploring the works in which paper went from being the support for an image to a material with as many creative possibilities as stone, clay, pigment and graphite.

We find—in addition to several types of paper used for drawing and prints, as well as those specially manufactured for watercolor, pastel and photography—works using wallpaper, newsprint, cardboard, a tobacco wrapper, packing paper, graph paper, a printed-paper tablecloth, the pages of glossy magazines, even blotting paper. Collage, the radical new art form Picasso pioneered with Georges Braque, is the most famous and widely known example of Picasso’s inventiveness with this material. But it is one of the exhibition’s many revelations that, even as collage was the culmination of the modernist upending of the Renaissance tradition of representation, it was only the beginning of Picasso’s artistic odyssey with paper.

The show was jointly organized by the Royal Academy of Arts in London and the Cleveland Museum of Art (where Britany Salsbury, the museum’s curator of prints and drawings, has been a guiding hand) in partnership with the Musée national Picasso-Paris, which provided the bulk of the loans. Be advised, this is a large exhibition. There are nearly 300 works in all media, as well as a reconstruction of the Cubist costume for one of the characters in the 1917 ballet “Parade.” Not every show requires such time and effort. This one does, and repays them abundantly.

“Picasso and Paper” opens with  two small paper cutouts, one of a dove and the other of a dog, made when Picasso was about 9 years old. Though the work of a child, they are not childlike. On the dove in particular the contours are so tightly drawn as to endow the flimsy, two-dimensional image with the suggestion of volume.

Picasso’s sustained involvement with paper begins in earnest with the Cubist collages made in the teens. More than just a new mode of representation, collage in Picasso’s hands was a way of creating multiple, often competing, levels of reality within a single work of art to ensure that it wasn’t a traditional, copycat rendering of the visible world. Exhibit A in this regard is “Glass, Bottle of Wine, Packet of Tobacco, Newspaper” (1914). The still-life image comprises actual paper (newsprint and tobacco wrapping), fictive paper (a green cutout marked up to look like wallpaper) and a representation of paper (the penciled word “VIN” symbolizing the label on the wine bottle).

Later we encounter another collage made entirely from pieces of wallpaper, “Women at Their Toilette” (1937-38), depicting the three women in Picasso’s life: his wife Olga Khokhlova and sometime partners Dora Maar and Marie-Thérèse Walter, one of them holding a portrait of the artist. Here, wallpaper’s role has been reversed. In the Cubist collages, it stood for itself. Here the pieces are put to other uses, representing figures, clothing and objects. A further twist: We still recognize the pieces as being wallpaper. And one more: The work’s mural scale (it’s almost 10 feet by 15 feet) alludes both to the multifigure narratives of Old Master painting and the material’s original function of covering walls.

Much later we see the extraordinary “Head of a Woman” (1962). Here, Picasso took a sheet of regular drawing paper, sketched in the face and exposed breasts of a woman, scissored it out of the sheet to form a silhouette image, and cut out a section of the interior. He then folded it in three places along its vertical axis so it could stand on one edge like a screen. Once again, multiple levels of reality coexist. The work is a drawing that is also a sculpture, a frontal view that includes a profile view. And in this work the ever-competitive Picasso is responding to the cutout technique pioneered by Henri Matisse in the 1940s, in which the artist composed an image by scissoring paper shapes, covering them with gouache and attaching them to a support.

There is much, much more to “Picasso and Paper.” It contains sections devoted to preparatory studies for “Les Demoiselles d’Avignon” (1907), the painting that launched the Cubist revolution, and “Guernica” (1937), as well as late-career interpretations of Eugène Delacroix’s “Women of Algiers” (1834) and Edouard Manet’s “Dejeuner sur L’Herbe” (1863).

It’s also something of a career survey. It starts with some of his earliest efforts and concludes with his unsparing confrontation with his own mortality in a 1972 crayon self-portrait from the year before he died, in which a battered, cadaverous head stares out at us, precariously balanced on his shoulders like a boulder on a cliff. Along the way there are keystone masterpieces such as Cleveland’s “La Vie” (1903), emblem of the melancholic early Blue Period.

So it’s the ideal introduction to Picasso. Unbounded by conventions, categories or definitions, his creative imagination was like a refiner’s fire. Any idea tossed into it was reinterpreted and transfigured, not just once but over and over.

Nowhere is this more evident than in his responses to the Delacroix and Manet. The exhibition has included almost 20 of the former and about a dozen of the latter. But these are only a fraction of the total output. As Emilia Philippot writes in the catalog, he made 15 paintings of the Delacroix preceded by dozens of preparatory drawings, along with nine engravings and two lithographs. The Manet prompted an even greater outpouring, she says: “27 canvases and more than 140 drawings, linocuts and cut cardboard models that were transposed into concrete on a monumental scale.”

Unfortunately, this show isn’t traveling to any other U.S. museums. But there’s still plenty of time to get to Cleveland. You’ll be rewarded with something profound and unforgettable.

Mr. Gibson is the Journal’s Arts in Review editor.
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