Picasso the reader full#

There are many wondrous and beautiful things about this volume, starting with the gorgeous array of pictures. ' tightly woven, scrupulously investigated, carefully considered argument. 'Clark's new book is brilliant, lofty and seductively serious.' -Jonathan Jones, Guardian Besides, it is beautifully-and aptly-illustrated.' -Philip Martin, Arkansas Democrat-Gazette Clark is a remarkably insightful looker and a writer of superb subtlety. Clark's Picasso and Truth: From Cubism to Guernica serves as a reliable introduction to the work of an essential 20th-century artist and a reassessment (and reordering) of his myth and legend. 'Lovely to look at and better to read, T.J. 'hallenging and enlightening.' -John Seed, Huffington Post

'mpressively illustrated.'' -Jacob Willer, Standpoint

Picasso the reader full#

It retains its character as a spoken text it is full of marvellous obiter dicta.' -Alex Danchev, Times Higher Education Picasso and Truth is a magisterial work: in many ways a summation. 'n intellectual high-wire act, commanding, compelling, thought-provoking. In this study, Clark approaches Picasso taking Nietzsche as his guide eschewing biographical criticism, he offers bold close readings of the paintings from the 1920s and '30s, and plots their trajectory from the optimism of Cubism to a style that is knowingly dark and monstrous.' - Apollo Magazine Clark's ability to make us look afresh at canonical artists and rethink the intellectual content and context of their works. is rare, among contemporary art historians.' -Thomas Marks, Daily Telegraph The book's lavish production values make for excellent reproductions of the paintings, and its copious illustrations include many cropped details as well as an imaginative range of image comparisons. Some are sparkling asides but more often they act as spurs that encourage us to look more closely and less complacently at Picasso's work. 'His prose is abundant with tantalising aphorisms and observations. Thus space becomes an arena for truth-telling after all: a conclusion with optimistic implications for the legacies we can still seek in 20th-century art if we explore, as Clark does with supreme insight, the meeting ground between art and politics.' -Jackie Wullschlager, Financial Times At his worst, he is also brilliant.' -Kevin Jackson, Literary Review

This satisfyingly rigorous book is grounded in Picasso's paintings and drawings throughout.' - Publishers Weekly 'Eloquent, confrontational and often disarmingly simple, Clark's writing moves quickly between levels, the metaphors heavy, the descriptions light.' -Malcolm Bull, London Review of Books with admirable awareness of their complexity, and the book is full of acute observations.' -Jack Flam, Times Literary Supplement He discusses a number of individual works. 'Clark is very good at pointing out in detail the complex and radical ways in which Picasso's paintings were conceived. Clark's Picasso and Truth be with me for a good long time.' -Jonathan Lethem, New York Times Book Review Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

Masterful in its historical contextualization, Picasso and Truth rescues Picasso from the celebrity culture that trivializes his accomplishments and returns us to the tragic vision of his art-humane and appalling, naïve and difficult, in mourning for a lost nineteenth century, yet utterly exposed to the hell of Europe between the wars. With compelling insight, Clark focuses on three central works-the large-scale Guitar and Mandolin on a Table (1924), The Three Dancers (1925), and The Painter and His Model (1927)-and explores Picasso’s answer to Nietzsche’s belief that the age-old commitment to truth was imploding in modern European culture. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this lavishly illustrated volume remedies the biographical and idolatrous tendencies of most studies on Picasso, reasserting the structure and substance of the artist’s work. Why was the space of a room so basic to Picasso’s worldview? And what happened to his art when he began to feel that room-space become too confined-too little exposed to the catastrophes of the twentieth century? Clark explores the role of space and the interior, and the battle between intimacy and monstrosity, in Picasso’s art. Clark offers a striking reassessment of the artist’s paintings from the 1920s and 1930s. From Pablo Picasso’s early The Blue Room to the later Guernica, eminent art historian T.

Picasso and Truth offers a breathtaking and original new look at the most significant artist of the modern era.