Picasso Line Drawings and Prints (Dover Fine Art, History of Art)
| Author | : | |
| Rating | : | 4.30 (969 Votes) |
| Asin | : | 0486241963 |
| Format Type | : | paperback |
| Number of Pages | : | 48 Pages |
| Publish Date | : | 2015-12-07 |
| Language | : | English |
DESCRIPTION:
Picasso-- a glimpse This book was a real find. The many illustrations were as good as a short course on the works of Picasso. I value it as an easy to read source on the works of a great artist.. "Ok, but not great" according to Dee Did It. The book arrived promptly and in good condition. I didn't expect much from the content, so was not disappointed. Some of Picasso's early drawings were so poor that they make me feel better about my own drawing. One can learn a great deal from trying to copy Picasso's work, as one begins to see relationships between lines and forms as he saw the. phedup said OK. With the gigantic oeuvre of Picasso, it would be impossible to include a representative number of his drawings in a small reasonably priced book like Dover. Good try though.
Theoretically, line is infinite; Picasso in his fertility nearly realized that theory in almost a century of ceaseless drawing, whether on paper, zinc, stone, or other media.Here is a sampling, rather than a comprehensive selection, from that plenitude; while nothing could be comprehensive within a single volume, the genius of Picasso's line manifests itself so clearly that this culling from various periods reveals the line in most of its guises.Beginning with a 1905 circus family in drypoint, 44 drawings cover Picasso's major themes, techniques, and styles. The sudden appearance of an earthy, hirsute Rembrandt (1934) seems to confirm Picasso's membership in the select group of art history's greatest draughtsmen.. From the almost classic Ingresque clarity of the Diaghilev and Stravinsky portraits (1919, 1920) via cubist studies and "neo-classical" nudes, Picasso's restless hand remakes his wor
Picasso may have the most uncanny line since Botticelli. The sudden appearance of an earthy, hirsute Rembrandt (1934) seems to confirm Picasso's membership in the select group of art history's greatest draughtsmen.. Each medium or style he chose to master, no matter how solid or sculptural, can be seen as line disguised, metamorphic; as the labyrinth to which a single thread is the key. In between are times of serenity and introspection (Seven Dancers (1919), with the future Olga Picasso up front; many figures and bathers) and, particularity as book illustrations, many mythological studies; Eurydice Stung by a Serpent (1930 etching), Dying Minotaur in the Arena (1933), an etching for a 1934 edition of Lysistrata. Balzac is represented by a striking lithographic portrait (1952) and by etching for Vollard's edition of Le Chef-d'oeuvre inconnu. Theoretically, line is infinite; Picasso in his fertility nearly realized that theory in almost a century of ceaseless drawing, whether on paper, zinc, stone, or other media.Here is a sampling, rather than a comprehensive selection, from that plenitude; while nothing could be comprehensive within a single volume, the genius of Picasso's line manifests itself so clearly that this culling from various periods reveals the line in most of its guises.Beginning with a 1905 circus family in drypoint, 44 drawings cover Picasso's major themes, techniques, and styles. From the a