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We now discover another Picasso, very different from the ones we have met in the two previous volumes Picasso, The Early Years, 1881-1907 and Picasso Cubism, 1907-1917. During the period between 1917 and 1926 the artist puts on his dress suit, lives in the elegant part of Paris, socialises with high society and returns to Classicism. However, beneath the surface of this formal Picasso, the permanently restless and tempestuous Picasso lives on: Cubism continues to develop with new accent and Surrealism bursts upon the scene before being announced officially, although one Picasso cannot be separated from the other. Through his commentaries, Josep Palau i Fabre invites us to enter the fascinating world of Picassian diversity. Indeed we discover a Picasso who behind the mask of Classicism conceals a hitherto unknown complexity.

 

Picasso, de los ballets al drama 1917-1926

Josep Palau i Fabre
528pp./ 30.5x31.5cm./ 1800il./ Clothbound

ISBN:
9788434309074
9788434309067
Castellano
Català
 
100.00€
 



Pablo Picasso (1881-1973) is without doubt the most prolific and influential artist of the recently ended twentieth century. The various steps that critics and historians have managed to identify in his long career have been more helpful with regard to the classification of his works than in their analysis and interpretation. Abandoning the traditional use of subject matter to achieve variety and meaning, Picasso gradually reduced his options to a handful of standardized motifs but used a vast array of different styles as the principal means of communicating ideas and feelings. In short, style is meaning in Picassoʼs art; his notoriously mercurial nature found expression in stylistic variety and experimentation.

In the course of his long essay, Josep Palau i Fabre pinpoints the keys to understanding a period (1926-1939) and an artist who was fully aware of the complexity of his time and the timelessness of true art: “Repeatedly, I am asked to explain how my painting evolved. To me there is no past or future in art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past, perhaps itʼs more alive today than it ever was.”

 

PICASSO 1927-1939

From the Minotaur to Guernica
Josep Palau i Fabre
456pp./ 0x0cm./ 1252il./ clothbound + slipcase

ISBN:
9788434312715
9788434312739
9788434312722
Castellano
English
Català
 
150.00€
 



Pablo Picasso (1881-1973) is without doubt the most prolific and influential artist of the recently ended twentieth century.The various steps that critics and historians have managed to identify in his long career have been more helpful with regard to the classification of his works than in their analysis and interpretation. Abandoning the traditional use of subject matter to achieve variety and meaning, Picasso gradually reduced his options to a handful of standardized motifs but used a vast array of different styles as the principal means of communicating ideas and feelings. In short, style is meaning in Picasso’s art; his notoriously mercurial nature found expression in stylistic variety and experimentation. In the course of his long essay, Josep Palau i Fabre pinpoints the keys to understanding a period (1926-1939) and an artist who was fully aware of the complexity of his time and the timelessness of true art: ''Repeatedly, I am asked to explain how my painting evolved.To me there is no past or future in art. If a work of art cannot live always in the present it must not be considered at all.The art of the Greeks, of the Egyptians, of the Great painters who lived in other times, is not an art of the past, perhaps it’s more alive today than it ever was.''

 

Picasso Vivo 1881-1907

Josep Palau i Fabre
560pp./ 30.5x31.5cm./ 1850il./ Clothbound

ISBN:
9788434303195 Castellano
 
100.00€
 



Pablo Picasso (1881-1973) is without doubt the most prolific and influential artist of the recently ended twentieth century. The various steps that critics and historians have managed to identify in his long career have been more helpful with regard to the classification of his works than in their analysis and interpretation. Abandoning the traditional use of subject matter to achieve variety and meaning, Picasso gradually reduced his options to a handful of standardized motifs but used a vast array of different styles as the principal means of communicating ideas and feelings. In short, style is meaning in Picasso’s art; his notoriously mercurial nature found expression in stylistic variety and experimentation. In the course of his long essay, Josep Palau i Fabre pinpoints the keys to understanding a period (1926-1939) and an artist who was fully aware of the complexity of his time and the timelessness of true art: ''Repeatedly, I am asked to explain how my painting evolved.To me there is no past or future in art. If a work of art cannot live always in the present it must not be considered at all.The art of the Greeks, of the Egyptians, of the Great painters who lived in other times, is not an art of the past, perhaps it’s more alive today than it ever was.''

 

Picasso Cubism 1907-1917

Josep Palau i Fabre
532pp./ 30.5x31.5cm./ 1584il./ Clothbound

ISBN:
9788434306226
9788434306165
Castellano
Català
 
100.00€
 



In this book three recognised authorities on the life and work of Picasso conduct a profound study of the artistic career and personal itinerary of one of the great geniuses of the 20th century. The book consists of twelve chapters divided into three periods: in the first, 1881-1916, Brigitte Léal describes and analyses Picasso’s life and oeuvre from his initial experiences and formative years to his move to Paris in 1901, where he would start his Cubist experiments. In the second period, 1917-1952, Christine Piot continues the narrative of events and analysis to the artist’s output, as well as describing those events which most influenced his constant evolution. Finally, the third period, between 1953 and 1973, is described along the same lines as the previous two by Marie-Laure Bernadac.

 

Picasso Total

Marie-Laure Bernadac,Brigitte Léal,Christine Piot
544pp./ 30.5x31.5cm./ 1235il./ Clothbound + box

ISBN:
9788434309302 Castellano
 
100.00€
 



In this book three recognised authorities on the life and work of Picasso conduct a profound study of the artistic career and personal itinerary of one of the great geniuses of the 20th century. The book consists of twelve chapters divided into three periods: in the first, 1881-1916, Brigitte Léal describes and analyses Picasso’s life and oeuvre from his initial experiences and formative years to his move to Paris in 1901, where he would start his Cubist experiments. In the second period, 1917-1952, Christine Piot continues the narrative of events and analysis to the artist’s output, as well as describing those events which most influenced his constant evolution. Finally, the third period, between 1953 and 1973, is described along the same lines as the previous two by Marie-Laure Bernadac.

 

Picasso The Monograph

Marie-Laure Bernadac,Brigitte Léal,Christine Piot
544pp./ 19x21.6cm./ 1235il./ Paperback with flaps

ISBN:
9788434310339
9788434310919
Castellano
English
 
39.00€
 



A selection of works lavishly illustrated with a short selection of recommended further reading is also included.

 

Picasso

José Mª Faerna
80pp./ 16.5x22.5cm./ 71il./ Paperback

ISBN:
9788434311138
9788434311145
Castellano
English
 
7.95€
 



This text was specially conceived as a synthesis, analyses both the life of the painter and the works selected.

 

Picasso. Cubisme

José María Faerna
64pp./ 24.6x31.2cm./ 70il./ Hardcover

ISBN:
9788434310940 Català
 
15.50€
 



Category: modern art


This book ––and the homonymous exhibition–– explores the work of artists who attempted to keep alive the expanded possibilities opened up for the arts of painting and sculpture by what was called Cubism in Paris between 1911 and 1914.  This little community of artists refused to accept that recording the war or producing propaganda was their duty.  They refused to forget the excitement of 1911-14, and kept faith in their independence as individuals as this war of machines threatened to rob every front-line soldier of his humanity and to draw even foreigners in France into “total war”.

The vast majority of fit young Frenchmen were mobilized, so those artists left behind in Paris were either foreign or too old or unfit for combat.  Pablo Picasso, then called the inventor of Cubism, remained a leading figure, alongside his fellow Spaniards Juan Gris and María Blanchard, the Mexican Diego Rivera, the Italian Gino Severini, and the Lithuanian sculptor Jacques Lipchitz.

One feature of this book is the diversity of the work produced by these artists, each working as individuals.  Another, however, especially from 1917, is the move made by most of them towards a more structured, architectural Cubism, which could be taken as reparative against the destructive forces that seemed to have taken over the whole world.>> Christopher Greenis Professor Emeritus of the History of Art at the Courtauld Institute of Art, London. Among his recent publications is Picasso: Architecture and Vertigo (New Haven and London, 2005). He has curated several exhibitions, including Juan Gris (WhitechapelArt Gallery, London, Staatsgalerie Stuttgart and Rijksmuseum Kröller-Müller, Otterlo, The Netherlands, 1992-93), and Henri Rousseau: Jungles in Paris (Tate Modern, London, Galeries nationales du Grand Palais, Paris and National Gallery, Washington D.C., 2006-07).

>> Christopher Greenis Professor Emeritus of the History of Art at the Courtauld Institute of Art, London. Among his recent publications is Picasso: Architecture and Vertigo (New Haven and London, 2005). He has curated several exhibitions, including Juan Gris (WhitechapelArt Gallery, London, Staatsgalerie Stuttgart and Rijksmuseum Kröller-Müller, Otterlo, The Netherlands, 1992-93), and Henri Rousseau: Jungles in Paris (Tate Modern, London, Galeries nationales du Grand Palais, Paris and National Gallery, Washington D.C., 2006-07).

>> Art historian, Dr Neil Cox is Head of Department of Art History and Theory at the University of Essex; author of the reference book Cubism, and co-author of A Picasso Bestiary. He has also written and presented two BBC TV series.

 

Cubismo y Guerra

The Crystal In The Flame
Chistopher Green
Essay by Neil Cox
192pp./ 23.5x29cm./ Tela

ISBN:
9788434313651
9788434313644
Castellano
English
 
45.00€
 



Contributions by Christine Pinault (Picasso Administration), Rosa Maria Malet (manager of the Joan Miró Foundation, Barcelona), Txomin Badiola (responsible for the Catalogue Raisonné of Jorge Oteiza), Judith Goldman (member of the Andy Warhol Art Authentication Board) and Véronique Wiesinger (manager of the Alberto y Annette Giacometti Foundation), among others.

Determining the authorship and originality of artistic works is a key element essential for fully enjoying the art and for the correct functioning of the market and many cultural centres. It is one of the tasks falling upon institutions and different categories of people from artists’ foundations to museums, public administrations, academics, gallery owners and art collectors…

All those concerned by it encounter many problems when conducting the task. This book, derived from an international seminar organised by the Gala-Salvador Dalí Foundation diffuses the knowledge, experience and opinions of some of the most prestigious experts on these subjects. Furthermore, it provides some new angles, proposals and linguistic elements that can help to understand the difficulties presented by the topic and to improve its legal regulation.

Following “The Expert versus the Object” by Ron Spencer and “The Value of Art” by Michael Findlay (published by Ediciones Polígrafa last May), “The Authorship, Authentication and Falsification of Works of Art” constitutes the third volume in the collection “Art, the Market and Law”, driven by the Gala-Salvador Dalí Foundation. This collection began in 2011 with the intention of promoting legal, financial and artistic knowledge that contribute in a general manner to the protection, conservation, diffusion and fame of artistic heritage, specifically the heritage created by Salvador Dalí.

Lluís Peñuelas has been the general secretary of the Gala-Salvador Dalí Foundation from 1990 to date. He is responsible for managing the Foundation’s four museums and their general administration.

 

Autoría, autenticación y falsificación de las obras de arte

Lluís Peñuelas (ed.)
With the collaboration of the Gala-Salvador Dalí Foundation
336pp./ 16.5x23.5cm./ 60il./ Soft cover with flaps

ISBN:
9788434313224 Castellano
 
24.50€