LaurieAnnie's photos with the keyword: Cubism

Juan Gris Still Life with Flowers 1912 Medium: Oil on canvas Dimensions: 44 1/8 x 27 5/8" (112.1 x 70.2 cm) Credit: Bequest of Anna Erickson Levene in memory of her husband, Dr. Phoebus Aaron Theodor Levene Object number: 131.1947 Department: Painting and Sculpture Text from: www.moma.org/collection/works/78930

Juan Gris Still Life with Flowers 1912 Medium: Oil on canvas Dimensions: 44 1/8 x 27 5/8" (112.1 x 70.2 cm) Credit: Bequest of Anna Erickson Levene in memory of her husband, Dr. Phoebus Aaron Theodor Levene Object number: 131.1947 Department: Painting and Sculpture Text from: www.moma.org/collection/works/78930

Pablo Picasso The Architect's Table Paris, early 1912 Medium: Oil on canvas mounted on panel Dimensions: 28 5/8 x 23 1/2" (72.6 x 59.7 cm) Credit: The William S. Paley Collection Object number: 697.1971 Text from: www.moma.org/collection/works/80280

Pablo Picasso The Architect's Table Paris, early 1912 Medium: Oil on canvas mounted on panel Dimensions: 28 5/8 x 23 1/2" (72.6 x 59.7 cm) Credit: The William S. Paley Collection Object number: 697.1971 Text from: www.moma.org/collection/works/80280

Pablo Picasso The Architect's Table Paris, early 1912 Medium: Oil on canvas mounted on panel Dimensions: 28 5/8 x 23 1/2" (72.6 x 59.7 cm) Credit: The William S. Paley Collection Object number: 697.1971 Text from: www.moma.org/collection/works/80280

Pablo Picasso The Architect's Table Paris, early 1912 Medium: Oil on canvas mounted on panel Dimensions: 28 5/8 x 23 1/2" (72.6 x 59.7 cm) Credit: The William S. Paley Collection Object number: 697.1971 Text from: www.moma.org/collection/works/80280

Man in a Café Juan Gris (José Victoriano González Pérez), Spanish, 1887 - 1927 Geography: Made in France, Europe Date: 1912 Medium: Oil on canvas Dimensions: 50 1/4 x 34 3/4 inches (127.6 x 88.3 cm) Framed: 53 1/2 x 37 5/8 x 2 1/4 inches (135.9 x 95.6 x 5.7 cm) Curatorial Department: Modern Art Accession Number: 1950-134-94 Credit Line: The Louise and Walter Arensberg Collection, 1950 Text from: www.philamuseum.org/collections/permanent/51698.html?mulR=729743518|5

Man in a Café Juan Gris (José Victoriano González Pérez), Spanish, 1887 - 1927 Geography: Made in France, Europe Date: 1912 Medium: Oil on canvas Dimensions: 50 1/4 x 34 3/4 inches (127.6 x 88.3 cm) Framed: 53 1/2 x 37 5/8 x 2 1/4 inches (135.9 x 95.6 x 5.7 cm) Curatorial Department: Modern Art Accession Number: 1950-134-94 Credit Line: The Louise and Walter Arensberg Collection, 1950 Text from: www.philamuseum.org/collections/permanent/51698.html?mulR=729743518|5

Glass of Absinthe Pablo Ruiz y Picasso, Spanish, 1881 - 1973 Geography: Made in France, Europe Date: 1914 Medium: Painted bronze; silver-plated spoon Dimensions: 8 7/8 x 4 3/4 x 3 3/8 inches (22.5 x 12.1 x 8.6 cm) Copyright: © Estate of Pablo Picasso / Artists Rights Society (ARS), New York Curatorial Department: Modern Art Accession Number: 1952-61-114 Credit Line: A. E. Gallatin Collection, 1952 Label: Glass of Absinthe is the only freestanding sculpture that Picasso executed between 1910 and 1926. The artist made six hand-painted bronze casts after a wax model and incorporated a silver spoon and a bronze sugar cube into each version. Absinthe, a green-colored liquor made from distilled wormwood, was thought to lead to madness and even death, but this potentially lethal drink was nonetheless extremely popular in Parisian cafés in the late nineteenth and early twentieth centuries. Due to its bitter taste, the liquid was traditionally poured into a glass of water over a sugar cube resting on a straining spoon. Provenance: With Galerie Kahnweiler, Paris; French government, sequestered Kahnweiler stock, 1914-21; 1st Kahnweiler sequestration sale, Hotel Drouot, Paris, June 13-14, 1921, lot 139 (5 bronze casts sold as one lot) [1]; with Galerie Simon, Paris; sold to A. E. Gallatin, New York, 1935 [2]; bequest to PMA, 1952. 1. According to Daix and Rosselet, Picasso: The Cubist Years, 1907-1916, Boston, 1979, no. 757, p. 332. 2. Letter of Maurice Jardot, Galerie Louise Leiris, September 18, 1987 (stock no. 12131, photo numbers 390, 391), cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 232. Text from: www.philamuseum.org/collections/permanent/53861.html?mulR=916180045|1

Glass of Absinthe Pablo Ruiz y Picasso, Spanish, 1881 - 1973 Geography: Made in France, Europe Date: 1914 Medium: Painted bronze; silver-plated spoon Dimensions: 8 7/8 x 4 3/4 x 3 3/8 inches (22.5 x 12.1 x 8.6 cm) Copyright: © Estate of Pablo Picasso / Artists Rights Society (ARS), New York Curatorial Department: Modern Art Accession Number: 1952-61-114 Credit Line: A. E. Gallatin Collection, 1952 Label: Glass of Absinthe is the only freestanding sculpture that Picasso executed between 1910 and 1926. The artist made six hand-painted bronze casts after a wax model and incorporated a silver spoon and a bronze sugar cube into each version. Absinthe, a green-colored liquor made from distilled wormwood, was thought to lead to madness and even death, but this potentially lethal drink was nonetheless extremely popular in Parisian cafés in the late nineteenth and early twentieth centuries. Due to its bitter taste, the liquid was traditionally poured into a glass of water over a sugar cube resting on a straining spoon. Provenance: With Galerie Kahnweiler, Paris; French government, sequestered Kahnweiler stock, 1914-21; 1st Kahnweiler sequestration sale, Hotel Drouot, Paris, June 13-14, 1921, lot 139 (5 bronze casts sold as one lot) [1]; with Galerie Simon, Paris; sold to A. E. Gallatin, New York, 1935 [2]; bequest to PMA, 1952. 1. According to Daix and Rosselet, Picasso: The Cubist Years, 1907-1916, Boston, 1979, no. 757, p. 332. 2. Letter of Maurice Jardot, Galerie Louise Leiris, September 18, 1987 (stock no. 12131, photo numbers 390, 391), cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 232. Text from: www.philamuseum.org/collections/permanent/53861.html?mulR=916180045|1

Man with a Violin Pablo Ruiz y Picasso, Spanish, 1881 - 1973 Geography: Made in France, Europe Date: 1911-12 Medium: Oil on canvas Dimensions: 39 3/8 x 28 13/16 inches (100 x 73.2 cm) Copyright: © Estate of Pablo Picasso / Artists Rights Society (ARS), New York Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1950-134-168 Credit Line: The Louise and Walter Arensberg Collection, 1950 Label: A tall, pyramidal form at the center of this painting evokes a human presence, with clues suggesting hair, a moustache, and ears. Two F-shaped sound holes are the only signs of a violin, and scroll-like shapes at the bottom left suggest the arm of a chair. The painting dates from the spring or summer of 1912, a period in the evolution of Cubism often described as hermetic because the subjects appear to be sealed off from recognizable reality. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art Writing about Picasso, the painter and writer Jean Metzinger remarked: "Whether it be a face or a fruit he is painting, the total image radiates in time; the picture is no longer a dead portion of space."1 Man with a Violin, a potent illustration of this assessment, is a prime example of Analytic Cubism, the approach developed by Picasso and Georges Braque beginning in 1909. Instead of creating a likeness of the figure through the use of linear perspective and three-dimensional modeling, Picasso depicted the gentleman not as he would be seen at a given moment, but as he would appear at various times from different positions in space (behind, in front, and to the side). Man with a Violin cannot, then, be compared to the outward appearance of anything already known or seen, but instead creates a reality according to its own cumulative logic of seeing. While it is difficult to determine the painting's subject at first glance, Picasso left several clues to assist us: an ear, a moustache, lips holding a white cylinder (perhaps a cigarette?), and the F-shaped sound holes of a violin. Cubist paintings such as this would influence artists working in an abstract manner, but Picasso's anthropomorphic hints reveal that he was more interested in reinventing representation than in pursuing pure abstraction. Melissa Kerr, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 116. Note: 1) Jean Metzinger, "Note on Painting," as translated in Art in Theory, 1900-1900: An Anthology of Changing Ideas, ed. Charles Harrison and Paul Woods (Oxford and Cambridge: Blackwell Publishers, 1993), p. 178. Publication- Twentieth-Century Painting and Sculpture in the Philadelphia Museum of Art Between 1907 and 1914 Picasso's art evolved as if it were a secret language being invented in private conversation with his close collaborator Georges Braque. Man with a Violin reflects the state of their nearly day-to-day interchange in 1912, a time when their styles became almost indistinguishable, based on a shared vocabulary of gridlike scaffolding, overlapping planes, and a palette of ocher, white, and gray. As Braque and Picasso gauged how their paintings evolved, and sometimes even jockeyed competitively to innovate new methods, the two never veered from the rigorously disciplined but intuitive approach that led them to create such focused series of works. Man with a Violin dates from the spring or summer of 1912, a period in the evolution of Cubism often described as hermetic, as the connection between what appears in Braque's and Picasso's paintings and objects recognizable in nature is almost completely severed. This picture cannot be compared to the outward appearance of anything already known or seen, but instead creates a reality according to its own logic of seeing and reading. Immediately eye-catching and absorbing, its interwoven, shimmering facets and semitransparent planes juxtapose a skeletal, linear structure and transform the receding grid of perspectival space into a flat pattern. A monumental pyramidal form evokes a human presence, while other clues suggest strands of hair, a moustache, and ears. Two F-shaped sound holes are the only signs of a violin, and scroll-like shapes at the bottom left suggest the arm of a chair. Paintings such as Man with a Violin paved the way for much abstract art to come, but Picasso's persistent inclusion of abbreviated signs for human physiognomy and objects shows what all his subsequent work confirms: he was more interested in dissecting and reinventing representation than in pursuing pure abstraction. Philadelphia Museum of Art: Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art (2000), p. 26. Text from: www.philamuseum.org/collections/permanent/51089.html?mulR=1185637322|2

Man with a Guitar Pablo Ruiz y Picasso, Spanish, 1881 - 1973 Geography: Made in France, Europe Date: 1912 Medium: Oil on canvas Dimensions: 51 13/16 x 35 1/16 inches (131.6 x 89.1 cm) Copyright: © Estate of Pablo Picasso / Artists Rights Society (ARS), New York Curatorial Department: Modern Art Object Location: Gallery 172, Modern and Contemporary Art, first floor Accession Number: 1950-134-169 Credit Line: The Louise and Walter Arensberg Collection, 1950 Label: This painting was completed in the summer or early autumn of 1912 at Les Clochettes, a villa that Picasso rented in Sorgues, near Avignon, in the south of France. It was later included in the first Surrealist exhibition, which took place at Galerie Pierre Loeb in Paris in November 1925. It is not known if Picasso had any say in the selection of this work, but André Breton, the French poet and Surrealist leader, greatly admired the visual ambiguities of Picasso's Cubist paintings, which by the following decade had lost none of their power to shock and bewilder the public. Additional information: Publication- Philadelphia Museum of Art: Handbook of the Collections The Cubist language that Pablo Picasso and Georges Braque developed redefined the concept of painterly realism. Every picture confirms the Picasso's insistence that his images were always grounded in reality and never conceived as abstract combinations of pictorial elements. The subject of this painting, for example, can be deciphered by situating the identifiable elements relative to one another within the rigorously shallow space of the composition, its volumes flattened into a scaffold-like system of lines and softly modeled planes. The vertical canvas refers the viewer to the traditional format for portraiture. The ivory trapezoid at upper center suggests a face, although all features are absent. Recognition of the guitar is aided by Picasso's familiar visual shorthand for the instrument: the key at its upper neck, the shaded arc of the sound hole, the vertical lines of the strings. The most recognizable element in the composition--the dish containing a swirled dessert--adds an unusual note of bright color to the relatively somber Cubist palette. Ann Temkin, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 308. Provenance: With Daniel-Henry Kahnweiler, Paris, until 1914; French government, sequestered Kahnweiler stock, 1914-21; 1st Kahnweiler sequestration sale, Hôtel Drouot, June 13-14, 1921, no. 90, (illus. p. 26). With Paul Guillaume, Paris (from Kahnweiler sale?), before 1929 [1]; Jacques Doucet (1853-1929), Paris and Neuilly, until his death in 1929 [2]; by inheritance from her husband to Madame Jacques Doucet (Jeanne Roger), Neuilly, 1929; sold to Jacques Seligmann & Co., New York (stock no. 6474), September 15, 1937 [3]; sold to Louise and Walter C. Arensberg, Los Angeles, July 29, 1941 [4]; gift to PMA, 1950. 1. See illus. in Carl Einstein, "Notes sur le Cubisme," Documents, no. 3, June 1929, p. 149 (as "anciennement Collection Paul Guillaume"). 2. A 1930 photograph of the painting hanging in Doucet's rue Saint-James studio in Neuilly, is published in François Chapon, Mystère et splendeurs de Jacques Doucet, Paris, 1984. Doucet was a couturier and art collector/patron who also owned Picasso's "Les Demoiselles d'Avignon". 3. Included in the 1937 Seligmann exhibition, "Twenty Years in the Evolution of Picasso," no. 8, which notes the Jacques Doucet provenance. According to Chapon (p. 386, note 92), Madame Doucet sold this painting, along with other Picassos, to Seligmann in 1937. A handwritten list signed by Madame Jacques Doucet in the Jacques Seligmann & Co. gallery archives records the sale of six Picassos from her collection to Jacques Seligmann & Co. on September 15, 1937, including one entitled "La Guitare," presumably "Homme avec une guitare" (as it is referred to elsewhere in the Seligmann accounts); see Archives of American Art, Jacques Seligmann & Co. Records / Series 7.1 / Box 290 / f. 6: Purchase Receipts, nos. 6156-6543, 1936 February-1937 December (copies in curatorial file). Five of these works were included by Seligmann in the November 1937 exhibition. 4. Dated receipt from Seligmann to Walter Arensberg in PMA, Arensberg Archives, Box 28, folder 17. Text from: www.philamuseum.org/collections/permanent/51090.html?mulR=1247882510|1

Artist: Manierre Dawson (American, 1887-1969) Title: Meeting (The Three Graces) Date: 1912 Medium: Oil on canvas Dimensions: 58 1/8 x 48 in. (147.6 x 121.9 cm) Classification: Paintings Credit Line: Gift of Myra Bairstow and Lewis J. Obi, M.D., 2007 Accession Number: 2007.331 Rights and Reproduction: © ObiArts, Inc. Description: In 1910 the young Chicago artist spent six months traveling throughout England, France, Germany, Switzerland, and Italy, where he visited museums, collectors, and archeological sites. Following this sojourn, he created a series of modernist works in 1911-12 based on images from classical art and Old Master paintings. Here, his reinterpretation of a first-century Pompeian fresco transformed mythological maidens into emblems of Cubo-Futurist modernity. Although Dawson did not receive the same recognition during his lifetime as some of his American contemporaries in the Stieglitz and Arensberg circles, his avant-garde work was in the forefront of American modernism at the time. Text from: www.metmuseum.org/Works_of_Art/collection_database/modern...

Still Life with a Bottle of Rum, Summer 1911 Pablo Picasso (Spanish, 1881–1973) Oil on canvas; 24 1/8 x 19 7/8 in. (61.3 x 50.5 cm) Jacques and Natasha Gelman Collection, 1998 (1999.363.63) Picasso painted Still Life with a Bottle of Rum during the summer of 1911 in Céret, the small town in the French Pyrenees that was so popular with poets, musicians, and artists—especially the Cubists—before World War I that it has been called the "spiritual home of Cubism." One is hard-pressed to see the bottle of rum indicated in the title of this work, which was painted during the most abstract phase of Cubism, known as "high" Analytic Cubism (1910–12). In the upper center of the picture are what seem to be the neck and opening of a bottle. Some spidery black lines to the left of it might denote sheet music, and the round shape lower down, the base of a glass. In the center, at the far right, is the pointed spout of a porrón (Spanish wine bottle). This is one of the first works in which Picasso included letter forms. It has been suggested that the ones shown at the left, LETR, refer to Le Torero, the magazine for bullfighting fans—Picasso being one of them—but they might simply be a pun on lettre, French for "word." Text from: www.metmuseum.org/toah/hd/cube/ho_1999.363.63.htm

Juan Gris. (Spanish, 1887-1927). Grapes. October 1913. Oil on canvas, 36 1/4 x 23 5/8" (92.1 x 60 cm). Bequest of Anna Erickson Levene in memory of her husband, Dr. Phoebus Aaron Theodor Levene. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...