Maddening the Minotaur : Dora Maar'a power over Pablo Picasso

Dora Maar is primarily viewed as Pablo Picasso’s mistress and muse in art historical scholarship, and scholars frequently analyze her work in terms of its evolution as a consequence of her relationship with Pablo Picasso, therefore asserting the power Picasso had over Maar. Through comparative analysis and socio-historical investigation, I assert that Maar’s strong personality, political awareness, and artistic vision profoundly influenced Picasso during the Spanish Civil War and World War II.

Die neue Malerei : der Impressionismus, Van Gogh und Cézanne : die Romantik der neuen Malerei, Hodler, Gauguin und Matisse : Picasso und der Kubismus : die Expressionisten /

Includes bibliographical references.

Personal revolution and Picasso. Foreword by Merle Armitage

Mode of access: Internet.

Réduction du bruit de fond en vue de la détection de la matière sombre avec le projet PICASSO

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Réduction du bruit de fond en vue de la détection de la matière sombre avec le projet PICASSO

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

The Formative Stage of Picasso in Galicia

This article recognizes the importance of Picasso’s brief five year stay in A Coruña, being the place where he began his artistic studies. Through the narration of the events experienced by the artist in Galicia, the objective of this text is to compare his work at that time with his later paintings. In both stages one can appreciate similarities in composition and the use of colour.

Picasso y Cornuty. La absenta como adicción cambiosecular europea

Electricity coined the nightlife in the European capital par excellence in the late nineteenth and early twentieth century: Paris. Under the artificial reflection dandies, elegant workers, and bohemians flocked to the new playground. Painters, converted to urban chroniclers, show pictorial modernity and vitality; in the canvas of Manet, Toulouse-Lautrec, Degas or Jean Béraud we see a common element: the glass of absinthe on the table. The absinthe took sacrosanct dyes in the daily living of Parisian habitants and became an indispensable ritual to Henri Albert Cornuty, a poet who was part of the Madrid bohemian and in the gallery of disinherited that Picasso painted in blue stage. A writer and a painter that bring us to the drink-image of the intelligentsia of the time; this elixir was attributed with hypnotic, aphrodisiac and hallucinogenic powers; the myth of absinthe was part of the imaginary Paris at end of the century, an iconography that continues shaping identity in the twenty-first century.

A visual and contextual comparative study of the work of Picasso and Chanel towards an understanding of the overlaps between Modern Art and Fashion.

From the beginning of the twentieth century, ``Modernism`` impacted and transformed art and clothing. Pablo Picasso and Gabrielle ``Coco`` Chanel were two of the most central characters in Modernism working simultaneously in their disciplines. Picasso`s innovations, particularly in abstract art and Chanel`s fashion designs, that dramatically departed from the previous corseted and highly deco-rative styles, were so significant that they have left an influence on contemporary art and fashion. This study will compare their visual works and documented evidence of their motivations, within the context of their cultural backgrounds, to reveal meaning in the occurrences of overlaps. This approach has ex-amined the historical, cultural background of the artist and designer`s environment from different per-spectives, adding to previous research in this area. Through this research, outcomes of the analysis have shown similarities and divergences in the wider genres of art and fashion and the practice of the artist and fashion designer. The reference list to this text, used in the survey, gives a comprehensive overview of pertinent publications disseminating Picasso and Chanel`s visual works, oral perspectives and cultural impact.

Las mujeres de Picasso : te amo con todos los colores

Fondo Margaritainés Restrepo

Picasso's Guernica through Sight and Sound

Frederik Kauffman talks about his compositions. Various artists perform his compositions and speak.

Toward a comprehensive conceptualization of business organizations and their members from a sensemaking perspective. Lessons learned from Picassoâeuro?s cubism

Until recently, much of the discussion regarding the type of organization theory needed in management studies focused on normative vs. descriptive roles of management science. Some authors however noticed that even a descriptive theory can have a normative impact. Among others, management theories are used by practitioners to make sense of their identity and roles in given contexts, and so guide their attitude, decision process, and behavior. The sensemaking potential of a theory might in this view represent an important element for predicting the adoption of a theory by practitioners. Accordingly, theories are needed which better grasp the increased complexity of today's business environment in order to be more relevant for practitioners. This article proposes a multi-faceted perspective of organizations. This implies leaving a simplistic view of organizations and building a 'cubist' conception. Picasso's cubism paintings are characterized by the use of multiple perspectives within a single drawing. Similarly, I argue here that managers must learn not only to add multiple responsibilities in their work, but to develop an integrated conception of their managerial identity and of their organizations in which the multiple social and economic dimensions are enmeshed. Social entrepreneurship is discussed as illustration of typical multi-faceted business.

El mirall de la guerra

Treball que fa un estudi iconogràfic i mitològic del quadre

Prólogo: Hombres escritos por mujeres

La lucha política del feminismo partió de las mujeres y para las mujeres, y excluyó inicialmente a los hombres, ya que representaban el sujeto visible de las instituciones patriarcales. En la literatura escrita por mujeres, esto significó tanto la crítica a las imágenes femeninas estereotipadas que presentaban muchas de las obras consideradas «universales», como la configuración de heroínas distintas, más complejas y «positivas» que sirvieran de modelo a las mujeres reales para elaborar nuevos códigos de conducta y de relación con los hombres. Sin embargo, a medida que las reivindicaciones del feminismo se fueron afirmando, este primer paso dejó de ser necesario y, actualmente, incluso las autoras feministas dedican tanta atención a los personajes masculinos como a los femeninos, huyendo de los tópicos, tanto antiguos como nuevos. Los ensayos del presente volumen parten de la consideración del discurso literario como un espacio privilegiado de la construcción y deconstrucción de los géneros. Analizan personajes masculinos escritos por mujeres pertenecientes a épocas y culturas distintas, desde Madame de Lafayette en la Francia del s. XVII a las jóvenes autoras gallegas del s. XXI. Dichos personajes, tanto los de ficción como los que se basan en personas reales (como Sartre, «escrito» por Simone de Beauvoir, o Picasso, por Gertrude Stein) son también complejos, matizados, e incluso contradictorios, es decir, irreductibles a una única perspectiva.