Guitar, Glass, and Bottle by Pablo Picasso 발음듣기
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Guitar, Glass, and Bottle by Pablo Picasso
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Guitar, Glass, and Bottle by Pablo Picasso
We're here in MoMA storage with Pablo Picasso's "Glass, Guitar, and Bottle" of 1913.
He, along with other Cubist painters - notably Georges Braque and Juan Gris - had begun to introduce non-art materials into their fine-art pictures - things like wallpaper or newspaper - a few snippets of which you see here.
By contrast, what Picasso sets the task of doing is trying to build a collage of paint.
The result is really one of Picasso's most complex paintings of the Cubist period, in terms of its facture and the variety of its surface effects.
So he used all of these different tools and devices to manipulate his paint.
Stencils, bits of cardboard to push up against the edges of paintings. These very sharp, distinct lines.
Sometimes he would use, with a stencil that was cut, the jagged edges of his scissors, (Right?) would be translated over into the paint.
Our conservators suspect that in some areas creating skins of paint - skins of white lead paint - and then literally applying those in these shaped contours to the surface of this work - so, actually, taking the material of paint and making it a collage element literally. [LAUGHTER.]
The Paris Surrealists, some people like Louis Aragon and Andr? Breton, always insisted, in fact, that paste and paper were not essential to the making of collage.
They really described collage as an operation that set out to produce a work of art, that wasn't a seamless unity - that wasn't a coherent whole.
That made you so forcefully cognizant of the constructed nature.
Picasso's always engaged with this game of the true and the false, the vrai and the faux, reality and illusion.
And this picture sort of ups the ante of that game in this way that is absolutely remarkable.
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He, along with other Cubist painters - notably Georges Braque and Juan Gris - had begun to introduce non-art materials into their fine-art pictures - things like wallpaper or newspaper - a few snippets of which you see here.발음듣기
대기중
The result is really one of Picasso's most complex paintings of the Cubist period, in terms of its facture and the variety of its surface effects.발음듣기
대기중
Stencils, bits of cardboard to push up against the edges of paintings. These very sharp, distinct lines.발음듣기
대기중
Sometimes he would use, with a stencil that was cut, the jagged edges of his scissors, (Right?) would be translated over into the paint.발음듣기
대기중
Our conservators suspect that in some areas creating skins of paint - skins of white lead paint - and then literally applying those in these shaped contours to the surface of this work - so, actually, taking the material of paint and making it a collage element literally. [LAUGHTER.]발음듣기
대기중
The Paris Surrealists, some people like Louis Aragon and Andr? Breton, always insisted, in fact, that paste and paper were not essential to the making of collage.발음듣기
대기중
They really described collage as an operation that set out to produce a work of art, that wasn't a seamless unity - that wasn't a coherent whole.발음듣기
대기중
Picasso's always engaged with this game of the true and the false, the vrai and the faux, reality and illusion.발음듣기
대기중
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