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Picasso, Pablo: Pablo Picasso : e. Ausstellung zum 100. Geburtstag , Werke aus d. Sammlung Marina Picasso , Katalog , [Haus d. Kunst München, 14. Februar - 20. April 1981 , Josef-Haubrich-Kunsthalle Köln in Zusammenarbeit mit d. Museum Ludwig, 11. August - 11. Oktober 1981 , Städt. Galerie im Städelschen Kunstinst. Frankfurt am Main, 22. Oktober 1981 - 10. Januar 1982]. [Veranst.: Ausstellungsleitung Haus d. Kunst München e.V.]. Hrsg. von Werner Spies. Mit Beitr. von Eduard Beaucamp ... [Kataloggestaltung: Franz Mees] München : Prestel, 1981. ISBN: 3791305239

421 S. mit zahlr. Abb. 8° , illustr. Ppbd.

[SW: Picasso, Pablo / Ausstellung , Picasso, Marina < Kunstsamml.> / Ausstellung , Kunstausstellung / Wanderausstellung -> Picasso, Pablo / Ausstellung , Private Kunstsammlung / Einz. Sammlungen -> Picasso, Marina < Kunstsamml.> / Ausstellung , Picasso, Pablo / Ausstellungen]


Spies, Werner , Picasso, Pablo [Ill.]: Picasso, die Zeit nach Guernica : 1937 - 1973 , [anläßlich der von Heiner Bastian und Werner Spies organisierten Ausstellung , Picasso - Die Zeit nach Guernica 1937 - 1973, in der Nationalgalerie Berlin, der Kunsthalle der Hypo-Kulturstiftun, Nationalgalerie , Ausstellung Picasso - Die Zeit nach Guernica 1937 - 1973

Verleger Stuttgart : Hatje Erscheinungsjahr 1993 Umfang/Format 244 S. : uberwiegend Ill. , 32 cm Anmerkungen Bibliogr. S. 243 - 244 ISBN/Einband/Preis 3-7757-0384-5 Pp. : DM 120.00 Leibgeber Dank Zur Ausstellung Werner Spies Picasso Die Zeit nach Guernica Guernica und der deutsche Auftraggeber 3e Zerstörung der Stadt Guernica d die Ausstellung Entartete Kunst 3:e spanische Herausforderung vom Vorprojekt zum Bild Guernica Deutungen des Ereignisbildes Doppelkodierung :ich habe den Symbolismus herangezogen , säkularisiertes Passionsbild Appeasement -Politik und ästhetische Provokation Technik im modernen Leben und Blitzkrieg 3e Kriegsjahre das moralische Prestige Picassos Vichy gegen Picasso Symbolisierung der Nacht Abkehr von surrealistischen Themen Kubistische Subversion Komplexität als Widerstand gegen die akademischen Tendenzen der Zeit Der Mann mit Lamm Picassos Antwort auf Brekers Faksimile-Muskulatur Engagement und wertfreie Deformation Weinende Frauen und Porträts die Schlagkraft des Stereotypen Weibliche Akte und Das Morgenständchen Lumpensammler und Stilleben Libration der Salon Picasso Das Leichenhaus Picasso und die kommunistische Partei Die Friedenstaube , Die Massaker in Korea Die Affäre um das Stalin-Porträt Die Skulptur der fünfziger und sechziger Jahre Thema oder Motiv? Schauplatz Atelier Variationen und Paraphrasen: Detail und Vergrößerung Malraux, Musee imaginaire Die Zeit des Malers die Zeit, des Zeichners Der Kampf gegen die sich verlierende Zeit gepflegtes Exemplar, nur kleine Lesespuren


GRAPHIC DESIGN PRINTS, Art|Techniques|Printmaking art grafik grafiken Bolliger, Hans (Vorwort): Picasso's Vollard Suite, Thames & Hudson, London 1994 ISBN: 500271003

- 4°. Illustr. OPbd. ca. 200 illustr. S. Neuwertig / good copy !!! Jump to: navigation, search The Vollard Suite is a set of 100 etchings in the neoclassical style by the Spanish artist Pablo Picasso, produced from 1930-37. Named for the art dealer who commissioned them, Ambroise Vollard (1866-1939), the suite is in a number of museums, and individual etchings from the suite are collectible. More than 300 sets were created, but many were broken up and the prints sold separately. In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cezanne. [2] Picasso worked extensively on the set in the spring of 1933 and completed the suite in 1937. [2] It took a further two years for the printmaker Roger Lacouriere to finish printing the 230 full sets, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s. [2] A 1971 exhibition of the suite in Madrid was attacked by a paramilitary group, the Guerrilleros del Christo Rey (Warriors of Christ the King) who tore the pictures, and poured acid over the prints. The group attacked things associated with Spanish exiles like Picasso who aligned themselves with the Republican cause in the Spanish Civil War. [3] A spinning residential building in Brazil was named Suite Vollard after the suite. [4] A complete set is owned by the National Gallery of Australia, [5] and a complete set was acquired by the British Museum in 2011 after a donation of 1 million from financier Hamish Parker, a director of Mondrian Investment Partners. The donation was in memory of Parker's father, Major Horace Parker. [1] It had been the British Museum's ambition to own the set, and the acquisistion was described by the museums director, Neil MacGregor, as "one of the institution's most important acquisitions of the past 50 years". [1] The series The works are not based on a literary source, and are not titled, although according to the Fundacion Juan March, "Some of the themes have a remote origin in Honore de Balzac's short story Le Chef-d'oeuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter's efforts to capture life itself on canvas through the means of feminine beauty".[6] The works are inscribed by Picasso with the year month and day that he drew the image. [2] Writing in the Daily Telegraph Richard Dormant claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe...In the years Picasso worked on the series, fascism spread through Europe, and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show's beginning". [2] The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Therese Walter, is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Therese to create a series of monumental bronze heads in the neoclassical style. [2] Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to create original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931. [5] Dormant comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulant relationships with Marie-Therese and his wife Olga. [2] In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Therese. [2] The final three prints from the suite are portraits of Vollard. [7] Picasso learnt new techniques of etching during the suite, from relatively simple line etchings, through dry point and aquatinting and sugar aquatinting, this enabled him to achieve more painterly effects. [2] Most of the prints were completed to Picasso's satisfaction in a single state, but others, especially the erotic compositions, exist in several states, fourteen in one case.(wikipedia)


Ausstellungskatalog - Schneider, Angela [Hrsg.], Heinz Berggruen und Pablo [Ill.] Picasso: Pablo. Der private Picasso. Le Museee Picasso a Berlin. München [u.a.] : Prestel, 2005. ISBN: 3791360469
Anlässlich der Ausstellung "Pablo. Der Private Picasso. Le Museee Picasso a Berlin.", Neue Nationalgalerie, Berlin, 30. September 2005 - 22. Januar 2006. / Kleine Lese- und Lagerspuren, Einband etwas berieben und bestossen / Gutes Exemplar / Kunst.Picasso Kunst.Picasso ISBN 3791360469

297 S. : überw. Ill. 29.5 cm, Paperback

[SW: Pablo Picasso, Paris, Picasso-Museum, Ausstellung, Berlin, Künste, Bildende Kunst allgemein, Ausstellungskatalog, Katalog, Kunstband]