Annotated Bibliography: Pablo Picasso
Gibson, Eric. "Picasso & The Third Dimension." New Criterion 4 (2015): 9.
Pablo Picasso was a painter and a revolutionised sculpture. Sculpture or third dimension art as referred to
by Gibson in the article has been Picasso's work with little fame compared to painting. Gibson argues that
most of Picasso's work that has been celebrated widely is the two-dimension work such as paintings and
collages that are particularly a focal point in the famous Cubism. The author goes ahead to describe some
of the greatest sculptors made by Picasso such as the Guitar and the Bathers. The author argues that there
is a thin line between painting and sculpture in Picasso's work such that there is no need to even draw the
line. The author also reflects on the exhibition capturing Picasso's relationship to the sculpture as perceived
by curators. The author reflects on how Picasso's materials selection has been perceived, ranging from the
unorthodox materials to the traditional materials. The author sums up his reflection by noting that Picasso's
zeal to reshape art has elicited a question as to which is better the other between painting and sculpture.
Guggenheim.org. N.p., 2016. Web. 19 Oct. 2016.
Pablo Picasso's life is described beginning from his birth, through is childhood and work life. Picasso is
described as having been born to an academic painter named Jose Blasco. Picasso is said to have picked up
drawing at an early age and went on to study at a school of fine arts in Barcelona. His quest to develop his
artistic skills led him to Paris, where he developed his style from the Blue Period. He also learned from the
Rose Period and the pivotal work Les Demoiselles d'Avignon. He later developed Cubism. A year later, he
adopted the neo-classicism with a renewed interest in painting. He also had the interest in figural
representation. While living in France, Picasso was involved in Surrealism especially in making sculptures
that were open to sexuality. His fame as artists increased during his time in France. The Spanish Civil War
is believed to have profoundly affected Picasso as an artist as expressed in his paintings during the war.
Hughes, Kathryn. "Pablo'S People: The Truth About Picasso's Portraits". The Guardian. N.p., 2016. Web.
17 Oct, 2016
The author reflects on Picasso's accusations that he manipulate the world through his work. The author
begins by describing Picasso's painting at the entrance of the National Portrait Gallery autumn show. The
painting is a portrait depicting Picasso, completed
pre-cubist and post-blue period. The author states the
confusion that the portrait creates given that it depicts Picasso in a tradition of classic art despite his zeal to
change and diversify art from traditional to modern. The author describes Picasso's portraits as the infinite
way through which he dealt with the subject of the human figure. The author also looks at Picasso's early
life when he learned art in school. However, he did contrary to the teachings about portraiture as proved by
sitters in his works who were never happy with the way he manipulated them in the portraits. He paid little
care to what made his sitters unique and instead advanced his greediness as a monomaniac.
Kachur, Lewis. "Picasso Sculpture!" Art In America 11 (2015): 129.
The article reviews a show on Pablo Picasso's sculpture work. The author ascertains that the Museum of
Modern Art makes it clear that Picasso's sculpture was termed the episodic pursuit. The show claims that
the episodic pursuit resulted in over 600 sculptures and many paintings. The article reviews a description
of notable sculpture works by Picasso, more importantly, the work inspired by the Cubist assemblage. The
works that established welding in his sculptural techniques. He set up a studio for sculpture at the age of 49
culpt for quite some time despite the richness of the Cubist movement
focus on sexuality. The second world war limited Picasso e sculpturing due to limited bronze supply but
later on thrived a decade after the war. A wide collection of Picasso's works are now the museums
Kleine-Ahlbrandt, Wm. Laird. "Pablo Picasso." Salem Press Biographical Encyclopedia (2015)
Picasso's early life by describing his birth in Malaga, Spain in 1881 to an art teacher father. His fathercher
The authors capture Pablo Picasso's early life, work, and significance as an artist. The author narrates
Picasso leamed faster and mastered the classical style of art. Picasso felt held back by the art structure Paris
were being taught. Therefore, he wanted to explore moro. His freedom to explore more landed him beyond
the traditional style he learned from French artists to forge the modern art. However, he adopted various
artistic styles influenced by his environment
. The author argues that picasso stands out as a creative genius
in the contemporary art, which mostly upholds artistic change, diversity and creativity.
Krauss, Rosalind E. "Picasso According to Freud." International Forum Of Psychoanalysis 20.4 (2011):
.
The author reflects on Freud's views about Picasso's incorporation of neo-classical styles and motifs in the
art after the successful creation of Cubism artistic movement. The author argues that Picasso's
work was
perceived to have deteriorated after his creativity and zeal to embrace diversity in artworks. The author
further argues that Picasso's turn from his youth representation mastery that was traditional earned him the
is argued to be contrary to Freud's principle of unconscious production. Picasso's Neo-Classicism is said
to have been disliked. The author reflects Picasso's expressions of doubt about his success as depicted by
Françoise Gilot's "Life with Picasso." Based on that, Freud claims that the anxiety and doubt in his success
were just something unleashed by a sense of danger. It is argued that Picasso feared for his logical extension
of the cubist grid as well as himself. Picasso's photography creativity is also criticised since it resulted into
deformed Neo-Classicism. The author concludes based on Freud's analysis that Picasso was not immune
to his phobias, anxiety, and obsession for creativity.
McNeese, Tim, and Pablo Picasso, Pablo Picasso. New York, NY: Chelsea House Publishers, 2006,
McNeese provides an insight into Pablo Picasso's life. He begins by capturing the environment as well as
events that culminated his greatest projects as artists. These were the events of the Spanish civil war, during
which many deaths occurred under the attacks from the Germans. While in France during that period, Pablo
Picasso created thousands of paintings, sculptures and illustrations depicting the war and its effects. The
author then goes back to narrate Picasso's early life in Spain where he was born and first learned art. The
author argues that Picasso's zeal for change and diversity from the traditional art drove him out of Spain to
France, where the blue period was begun. The blue phase entailed a transition in both literature and art
worlds. This presented him the opportunity to learn and explore diversity and creativity from painters,
intellectuals and writers in the French capital. The next movement in Picasso's artistic journey is described
as cubism, which was a revolutionised art movement pioneered by Picasso and his friend Braque. The
author argues that Cubism became the turning point of diversity in art. The author describes further new
changes in Picasso's art journey, including during the time of war.
Weiss, Jeffrey. "Contingent Cubism." Grey Room 58 (2015): 26-49.
The author reflects on the techniques employed by Pablo Picasso in sculpture inspired by Cubism. The
author notes that condition, whereby the sculptural object was physically indivisible, changed quite a lot
and the new techniques involved construction rather than carving, casting, and modelling. The author
describes Picasso's revolutionary techniques in sculpture that involved the object getting ascribed to the
identity of propositions. The author also describes the materials that were associated with the Cubism-
inspired by Picasso's zeal for creativity and innovation. The author describes cutting, pinning and affixing
as the main process adopted by Picasso in his sculpting activities. Thus, the author argues that Picasso
engaged in what is known as fabrication or construction which could be used to map the body work. The
author sums up his views on Picasso's work in sculpture by asserting that the cubist conditions and
circumstances cannot be dispensed to the meaning of the object.
Gibson, Eric. "Picasso & The Third Dimension." New Criterion 4 (2015): 9.
Guggenheim.org. N.p., 2016. Web. 17 Oct. 2016.
Hughes, Kathryn. "Pablo's People: The Truth About Picasso's Portraits". The Guardian. N.p. 2016. Web.
17 Oct. 2016.
Kachur, Lewis. "Picasso Sculpture." Art In America 11 (2015): 129
Kleine-Ahlbrandt, Wm. Laird. "Pablo Picasso." Salem Press Biographical Encyclopedia (2015).
Krauss, Rosalind E. "Picasso According To Freud." International Forum Of Psychoanalysis 20.4 (2011):
205-210.
2006.
McNeese, Tim, and Pablo Picasso. Pablo Picasso. New York, NY: Chelsea House Publishe
Weiss, Jeffrey. "Contingent Cubism." Grey Room 58 (2015): 26-49.
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