1,721,492 research outputs found
Giacometti Critical Essays
No full textGiacometti: Critical Essays brings together new studies by an international team of scholars who together explore the whole span of Alberto Giacometti's work and career from the 1920s to the 1960s. During this complex period in France's intellectual history, Giacometti's work underwent a series of remarkable stylistic shifts while he forged close affiliations with an equally remarkable set of contemporary writers and thinkers. This book throws new light on under-researched aspects of his output and approach, including his relationship to his own studio, his work in the decorative arts, his tomb sculptures and his use of the pedestal. It also focuses on crucial ways his work was received and articulated by contemporary and later writers, including Michel Leiris, Francis Ponge, Isaku Yanaihara and Tahar Ben Jelloun. This book thus engages with energising tensions and debates that informed Giacometti's work, including his association with both surrealism and existentialism, his production of both 'high' art and decorative objects, and his concern with both formal issues, such as scale and material, and with the expression of philosophical and poetic ideas. This multifaceted collection of essays confirms Giacometti's status as one of the most fascinating artists of the twentieth century
Guillaume Apollinaire. Correspondance avec les artistes, 1903-1918
No full textThis book presents hundreds of letters and cards addressed by over 100 artists to the poet and critic Guillaume Apollinaire, accompanied wherever possible by Apollinaire’s side of the correspondence. The letters, most of which are published here for the first time, are accompanied by an Introduction, a presentation of each artist and detailed and comprehensive notes. The book thus provides a wealth of new information on the world of art and on interplay between artists and poets during a crucial period marked by the birth of cubism, the beginnings of abstraction and the four years of the Great War.
Ces lettres, en majorité inédites, forment la correspondance entre Guillaume Apollinaire et les artistes de son temps : peintres, sculpteurs, graveurs, affichistes, décorateurs, illustrateurs... Français et étrangers, ils sont plus d'une centaine à entretenir des relations professionnelles ou personnelles avec le poète d'Alcools et de Calligrammes, dont la critique d'art révèle un goût sûr aux convictions vigoureuses. Les échanges avec Chagall et Gontcharova sont pleins d'estime et d'admiration. Avec André Derain, le Douanier Rousseau, Max Jacob ou Giorgio de Chirico, le travail et l'amitié s'unissent dans un même élan créateur. Entre Apollinaire et Marie Laurencin, la peinture et la poésie épousent l'amour et les regrets. Quand la Grande Guerre disperse les milieux artistiques, les lettres soutiennent Braque, en péril dans les tranchées, et Kisling, évacué après sa blessure dans un corps-à-corps.
Cette correspondance éclaire l'itinéraire et la personnalité des artistes les plus illustres, inventeurs de l'art moderne, sans négliger tous ceux qui, aujourd'hui oubliés ou méconnus, ont animé l'univers des ateliers, des galeries et des salons. Elle nous mène à travers l'Europe de la Belle Époque, creuset du cubisme et de l'abstraction. Elle nous conduit dans un monde déchiré par la guerre, où chacun tente de protéger son art dans les nécessités de l'heure. Elle nous plonge dans l'art vivant du début du XXe siècle
Améthyste et labyrinthe : architectures parisiennes dans l'œuvre de Guillaume Apollinaire
No full textRead Peter. Améthyste et labyrinthe : architectures parisiennes dans l'œuvre de Guillaume Apollinaire. In: Cahiers de l'Association internationale des études francaises, 1990, n°42. pp. 93-107
Apollinaire critique d'art : la sculpture en question
No full textRead Peter. Apollinaire critique d'art : la sculpture en question. In: Cahiers de l'Association internationale des études francaises, 1995, n°47. pp. 405-420
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Cubism Breaks Cover: Picasso and "Parade" in 1917
No full textThis chapter explores all aspects of "Parade", a ballet conceived and written by Jean Cocteau for Sergei Diaghilev's Russian ballet, which premièred in Paris on 18th May 1917. At Cocteau's request, Picasso agreed to design set and costumes for the ballet and completed the commission by also designing and painting a drop curtain. The chapter explores ways in which Picasso assimilated essential aspects of Cocteau’s scenario, before seizing control of the production, then reinforcing its visual impact and dialectical energy by developing a particularly charismatic new manifestation of cubism, both kinetic and theatrical. His contribution to "Parade" embodies an artistic vision that combines historical awareness with creative renewal, disrupting and opposing intellectual routine and regimentation, and his manipulation of contrasting visual styles asserts a position of intractable artistic freedom. The chapter also shows how aspects of cubism contagiously affected Massine’s choreography and Satie’s music for the ballet. It suggests that the violent hostility displayed in some press coverage (and surprisingly negative reception of the ballet by some more recent critics and historians) bears witness to Parade’s transgressive power and to the alarm of artists and commentators who feared that their authority and status, based on respect for established values and aesthetic commitments, were being subverted and ridiculed
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