Index

Karmel, Pepe

Save Cite Share

Free

Index

Pepe Karmel

Picasso and the Invention of Cubism

Index

Author

Pepe Karmel

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-22280

Index

A

Aarsleff, Hans, xi, 115

abbreviations, vi

angles of the facial plane, 57, 58, 136, 137

Apollinaire, Guillaume, 10, 17, 92, 130, 131, 133, 137, 178

Alcools, 131

The Cubist Painters, 186

“On the Subject in Modern Painting,” 186

Arréat, Lucien, 6, 117

Art Nouveau, 12, 34, 37

Arts, 99

L’Assiette au beurre, 179

associationist philosophy, 111–18; see also language theory; signs

Aurier, Georges, 6, 116, 117

Autumn Salon, see Salon d’Automne

B

Bach, J. S., 188

Baer, Brigitte, x

Baker, Elizabeth C., ix

Baldassari, Anne, ix

Barbizon school, 26

Baroque, 24

Barr, Alfred, xi, 20, 79, 82, 83

Barthes, Roland, 101, 108

“The Death of the Author,” 103

“Elements of Semiology,” 101

“Introduction to the Structural Analysis of Narratives,” 101

Baudelaire, Charles, 117

Beardsley, Aubrey, 49

Bellanger, Camille, L’Art du peintre, 57, 58, 136, 137

Bellini, Giovanni, 25, 26, 27, 32

Madonna and Child (c. 1483), 25, 25, 26, 32

Berenson, Bernard, 5, 27, 28

Berggruen, Heinz, 66

Bergson, Henri, 182, 191

Berkeley, George, 3, 6, 109, 181

Bernadac, Marie-Laure, ix

Bernard, Emile, 8, 20, 117

Bernini, 165

Berthon, Laurence, ix

Blanc, Charles, Grammar of the Decorative Arts, 9, 52, 119

Grammar of Design, 119

Bloom, Harold, The Anxiety of Influence, 103

Bois, Yve-Alain, xi, 18, 108–11, 116, 120, 167–68, 191

“Kahnweiler’s Lesson,” 108, 167

“The Semiology of Cubism,” 108–10

Bonnard, Pierre, 128

Bosanquet, Bernard, 8

Botticelli, Sandro, 25

Brancusi, Constantin, 68

Braque, Georges, see also Picasso and Braque

and boxing, 188

and constructions, 169, 173

and Cézanne, 38–40

collaboration with Pablo Picasso, viii, 30, 70

and decoration, 12, 153

development of Cubism, viii, ix, 37, 71, 128, 146, 153

and faceting, 37, 40, 46

and the figure, 153

and geometric structure (form, volume), 42, 43, 70, 153

and the grid, 15, 43–44, 71

influence on Picasso, 37, 40, 71, 126, 157, 169, 173

and the lattice, 40, 42, 46

and Le Havre, 186, 188

at L’Estaque, 38–40

as musician, 186, 188

and perspective, 13–15

and papier collé, invention of, 45, 105–06, 146, 152–156

photographs of, 69, 126, 187, 188, 190

and projective space, 14, 40

and representational image, 153

and signs, 20, 105–06, 153, 156

synecdochic, 126–29, 153–57

at Sorgues, 152, 173

and spatial structure, 13–15, 40, 42

statements on his work, 12, 13, 15, 20, 23, 42, 88, 152, 153, 166

and superimposition, 15, 23, 153

and three-dimensionality, 40, 42, 43, 128

works by,

Fruit Dish and Glass (1912), 105, 106, 152, 153, 155, 155

Fruit Dish: “Quotidien du Midi” (1912), 155, 155

Guitar Player (1911), 86

Harlequin (1912), 153, 154

Homage to J. S. Bach (1911–12), 127, 128, 129, 137, 155

Houses at L’Estaque (1908), 40, 41

Man with Pipe (1912), 127, 129, 130, 153, 154, 155

Mandola (1909–10), 43, 43

Le Portugais (1911), 86, 104, 126, 127, 128, 188

Le Sacré-Coeur (1909–10), 43, 43, 44

Still Life with Violin (1912), 45–46, 47, 88

Viaduct at L’Estaque (1908), 38, 39, 40

detail, 39, 40

Violin (1911), 186

Violin and Candlestick (1910), 15, 15, 23, 44, 45, 45

Violin and Pitcher (1910), 40, 42, 70, 125, 126

Woman (1908 drawing), 12, 12, 37

Woman (1908 painting; now lost), 12, 37

Bréal, Michel, 112–19, 124

law of differentiation, 115–16, 118, 124, 138

breast, diagram of, 57, 58

Burgess, Gelett, 10, 12, 17

Burhan, Filiz Eda, 2, 6

C

Calder, Alexander, 64

caricature, see Picasso and caricature

Caro, Anthony, 166

Carpentier, Georges, 188

photograph of, 188, 190

carpet paradigm, 7

Carriére, Eugéne, 117

Castagnary, Jules, 6

Cézanne, Paul, 1, 4, 5, 6, 8, 13, 23, 26, 27, 28, 30, 31, 36, 38, 39, 40, 50, 62, 64, 69, 82, 117

works by,

Bend in Road at Montgeroult (1898), 26, 26, 27, 36, 40, 69

Forest Scene (1900–02), 38, 38, 40

Large Bather (1885), 50

Large Bathers, (1899–1906), 28, 29, 40, 50

Mme Cézanne in a Red Dress (1888–90), 69, 70

Still Life with Apples (1895–98), 27, 27

Cimabue (Cenni di Pepo), 13

Claude Lorrain, 26

“closed” form, see Cubism and open form; Picasso and open form

Coddington, James, x

Cogniat, Rayond, 99

Condillac, Etienne Bonnot, 3

Confection Kehl (Ludwig Holwein poster), 127, 128

Constructivism, Constructivists, 68, 88, 166

Cooper, Douglas, viii

Corot, Camille, 26

Correggio, 7

Courbet, Gustave, 26, 99

Cousins, Judith, x

Crary, Jonathan, Techniques of the Observer, 2

Crotti, Jean, 64

Portrait of Marcel Duchamp (1915), 64, 66

Cubism,

and abstraction, vii, 17, 96, 105, 181

and African art, influence of, 108, 109, 125

analytic versus synthetic, 8, 19–21, 101

and Cézanne, 28, 30, 38; see also Braque and Cézanne; Picasso

and Cézanne

and constructions (sculptures), 165–79

and decoration, vii, 1, 10, 12, 20, 44, 167

and empiricism, 2, 6, 12–13, 17, 21, 49, 109

evolution of (distinct advances in), 1, 14, 19, 20, 24, 36, 37, 43, 49, 60, 68, 87–88, 99, 103, 105, 128, 146, 148, 152, 165, 194

and faceting, 13, 36, 37, 46, 50, 55–60, 66–67, 69–70, 72; see also Braque and faceting; Picasso and faceting

and figuration, 130–41, 178–81

as “form of writing,” 19, 100, 103, 108; see also Cubism and language

formal language of, vii, viii, 1, 2, 14–15, 97, 167

and fragmentation of the body, 49–97 passim

and geometric forms (substrate, qualifieds), 8, 71, 120, 124–25, 141–179 passim

and geometricization, 8, 21, 32–33, 100

and the grid, 15, 21, 28, 36, 43–47, 82, 92; see also Braque and the grid; Cubist grid; Picasso and the grid

history of, 36, 49, 60, 156

and impact, influence on later art, 10, 18, 19, 21, 24, 88, 157, 166, 178, 186; see also Cubism and abstraction

and Impressionism, 1, 17, 21, 23–24, 70–71, 181, 182, 185, 191–92, 194

interpretations of, see Cubist studies

and language, ix, 13, 17, 19, 21, 49, 91, 96, 100, 110–11, 118, 119, 120–22, 156, 179, 188, 191, 192, 193; see also Cubism and signs; Cubism, vocabulary of; Cubist sign

Saussure, theoretical model role of metaphor, 18–19, 21, 110, 116, 120, 122, 160, 191–92

role of metonymy, 118, 122

role of synecdoche, 116, 118, 124–29, 130–41, 148, 153, 156, 158, 160, 175, 179

and language theory, 21, 119, 191

for interpretation of Cubism through language theory see Cubist studies, criticism

and the lattice, 36, 37–42, 43, 44, 46, 71, 82

and open form, 13, 14, 47, 49, 60–68, 72, 76, 168, 169

origin of term, 40

and overlapping planes, 14, 15, 23, 34, 44, 130; see also Picasso and overlapping planes

and perception theory, vii, 1, 6, 17; see also empiricism

and perspective, 14, 21, 23

and Post-Impressionism, 1, 21

and projective space, 14, 37, 43, 44, 45, 125

and representation, 12, 17, 92, 103, 104, 181

and sculptural forms, 49–55

semiological character of, see Cubism and language; Cubism

and signs and signs, 17, 21, 66, 68, 99, 101, 103, 108, 110, 124–29, 130–41, 148, 153, 156, 157, 158, 160, 162, 163, 165–69, 175, 179, 181–83, 185, 191

spatial organization of, ix, 14, 16, 22–48 passim, 88

and superimposed planes, 87–91

and superimposition of forms and signs, 141–46; see also Picasso and signs; signs

and Symbolist theory, vii, 1, 21

and theatrical space, 24–28, 31–34

theories of, 1–21

visual language of, see Cubism and language

and volume, 13–14, 21

vocabulary of, 64, 82, 91–92, 97, 101, 106, 107, 109, 118, 122, 178; see also Cubism and language

Cubist grid, 15, 28, 36, 43, 44, 71–72, 82–86, 91, 92, 93, 194; see also Cubism and the grid

Cubist sculptures, 64; see also Cubism and constructions (sculptures)

Cubist sign, ix, 21, 68, 99, 100, 103, 107, 110, 117, 122; see also Cubism and signs; signs

ambiguous nature of, 122

arbitrary nature of, 107, 109, 110, 111, 166; see also Cubist studies; Saussure, theoretical model

artificial, 68

conceptual, 101, 137, 185

graphic, 66, 68, 99–101, 104

ideographic, 162, 163, 165

linguistic nature of 104, 105, 185

metaphoric (geometric), 122, 160, 163, 165

metonymic (realistic), 122

revising nature of, 103

and Saussurean analysis of, 101, 103, 104, 107, 108, 109–10

and superimposition with forms, 138, 141–46, 148, 153, 157, 158, 162–63, 169

synecdochic, 125–26, 128, 129, 130–152 passim, 153, 157–58, 160–63, 165, 169, 175, 178, 194

Cubist studies, criticism, vii, 8, 10–21, 82, 153

formalist interpretation, vii, 105, 106, 166, 167, 191

and language theory interpretation, 111–16, 118–22, 191–93

and Saussurean model, vii, 101–11, 118, 168, 191; see also Saussure, theoretical model

and semiology, vii, 101, 103–11, 166, 167

and signs, 100–11, 182, 185, 191

structuralist interpretation, 103, 105, 106, 108

D

Dada, 148

Daix, Pierre, vii, x, xi, 40, 82, 92, 105, 106, 108, 110, 120, 156, 157, 166

Darmesteter, Arsène, 112, 113, 114, 115, 116, 118, 119, 120, 122

La Vie des mots, 120

deconstructionism, 103

decoration, viii, 1, 2, 7, 8, 36, 37, 44, 49, 50, 52, 60, 91, 167; see also Braque and decoration; Cubism and decoration; Picasso and decoration

and Impressionism, 6–10, 20

and Post-Impressionism, 6–10, 20

and Symbolism, 7

Denis, Maurice, 1, 7, 8, 17, 20, 27, 49, 117

“Definition of Neo-Traditionism,” 7

Déodat de Séverac, 137, 142

Derain, André, 1, 28, 30, 37, 55, 75

The Dance (1906), 55

Derrida, Jacques, 101, 103

On Grammatology, 101

Descartes, René, 113

De Stijl, 88

Dickens, Charles, Hard Times, 7

Documents, 20

Doucet, Jacques, 30

Duccio di Buoninsegna, Entry into Jerusalem (1308–11), 24, 25, 26, 36

Duchamp, Marcel, 148, 158

In Advance of the Broken Arm (1915, remade 1945); 158, 159

Dufour, Pierre, “Cubism as Contemporary Art,” 103

Dufy, Raoul, 30

Dutilleul, Roger, 77

E

Ecole des Beaux-Arts, 100, 179

Egyptian art, 117

Eluard, Paul, 93

empiricism, 6, 12, 17, 21; see also Braque and empiricism; Cubism and empiricism; Picasso and empiricism

and Impressionism, 2, 4–5, 6, 7, 17, 20, 21, 116

and perception theory, viii, 2–6, 20, 49, 109

and Post-Impressionism, 4–6, 20, 21

rise of, 2–6

role in French art, 3, 8

and Symbolism, 17

Eugène, Pierrot, ix

F

faceting, 12, 13, 17, 34, 36, 37, 40, 46, 50, 55–60, 62, 64, 66–76 passim, 82, 120; see also Braque and faceting; Cubism and faceting; Picasso and faceting

facial proportions, diagrams of, 136, 137, 138

Fauves, Fauvism, 28, 30, 37, 49

Fénéon, Félix, 11, 34, 130

Fiedler, Conrad, 182, 191

Flemish painters, 13

Focillon, Henri, La Vie des formes, 120

formalism, vii, 1, 7–8; see also Cubist studies

Formalists, see Russian Formalists

Foucault, Michel, 101

Fra Bartolomeo, 8

Francastel, Pierre, 24

Fresnault, Sylvie, ix

Freud, Sigmund, 101, 104

Friesz, Othon, 30

Fry, Edward, 166

Cubism, x

Fry, Roger, 8, 27, 182, 191

“Essay on Aesthetics,” 8

Futurists, 186

G

Gabo, Naum, 68

Gachons, Jacques de, 1, 6

“The Art of the Future,” 1

Galerie de France, 99

Galerie Louis Carré, 99

Galerie Louise Leiris, x

Galerie Kahnweiler, see Kahnweiler, galleries of

Gauguin, Paul, 1, 6, 7, 8, 17, 117

geometric

armature, 83, 133, 146, 152, 173

constructions, 10

faceting, 34, 71

forms (substrate, qualifieds), 8, 21, 33, 42, 43, 52, 56, 60, 71, 122, 124–25, 141–42, 144, 148, 153, 156, 157, 158, 161, 162, 165, 169, 179, 185, 194; see also Braque and forms; Cubism and forms; Picasso and forms; signs, superimposition with forms; signs, synecdochic

language, 64, 109

representation, 56, 64, 66, 82–83, 94, 96, 156–65 passim

shapes, 21, 52, 60, 100

signs, 158, 160, 162

structure, 8

volumes, 70

George, Waldemar, 119

Giacometti, Alberto, 64

Gilot, Françoise, 10, 68, 73, 77, 100, 108

Giotto, 5, 28

Gleizes, Albert, and Jean Metzinger, On Cubism, 119, 124

Golding, John, xi, 100, 153

Gombrich, E. H., 5, 194

Art and Illusion, 5

Gonzalez, Julio, 64, 166

Gopnik, Adam, 130

Gouel, Eva, 128, 186

Gowing, Lawrence, 40

Grebo mask owned by Picasso, 67, 68, 100, 100, 109, 166, 167, 168, 169, 171, 175

Greek art, 117

Green, Christopher, 19, 119

Greenberg, Clement, viii, 9

“The Pasted Paper Revolution,” 167

Greenough, Sarah, xi

grid, see Braque; Cubism; Cubist grid; Picasso

Gris, Juan, viii, 18, 19, 20, 99, 119, 144

Man in a Café (1912), 144

H

Haviland, Frank, 76, 77, 137

photograph of, 85, 133, 134, 136, 137

Helmholtz, Heinrich, 2, 3, 4, 6

Herbin, August, photograph of, 142, 144

Hobbes, Thomas, 109, 113

Hofmann, Hans, 88

Holwein, Ludwig, see Confection Kehl

Hubert, Etienne-Alain, x

Hugué, Manolo, 76, 133

Hume, David, 3, 109

I

images d’Epinal, 7

Impressionism, 1, 2, 4, 5, 6, 7, 8, 13, 14, 21, 24, 26, 27, 37, 40, 49, 66, 70–71, 99, 116, 117, 118, 181, 182, 183, 185, 191–92, 194; see also Cubism and Impressionism; empiricism and Impressionism; Picasso and Impressionism

Ingres, Jean-Auguste-Dominique, 96, 186, 188

Italian Futurists, see Futurists

Italian “Primitives,” 5, 13

J

Jacob, Max, 77, 78

Saint Matorel, 78

Jakobson, Roman, 116, 191

Jardot, Maurice, x

Joyce, James, 128

Jugendstil, 12

K

Kachur, Lewis, 142

Kahnweiler, Daniel-Henry, x, xi, 1, 14, 17, 19, 46, 75, 76, 77, 78, 82, 92, 93, 95, 100, 108, 144, 146

and art as “forms of writing,” 19, 100, 103, 108

on Cubism, 10, 13, 16, 17, 19, 20, 23, 26, 44, 47, 49, 68, 99–100, 103, 110, 122, 124, 130, 166, 167, 168, 175, 179, 181, 185, 186, 194

“Cubism: The Creative Years,” 175

galleries of, x, 1, 6, 76, 77, 92, 144, 146, 179, 186

Juan Gris, 16, 17, 19, 20, 99, 100, 119, 148, 166, 179

“Der Kubismus,” 10, 13, 20, 23

My Galleries and Painters, 10, 46, 95

on Picasso, 10, 12, 19, 23, 30, 34, 47, 49, 55, 68, 75, 76, 77, 95, 100, 108, 148, 167, 168, 175

on Picasso and Braque, 20, 103, 166

The Rise of Cubism, xi, 10, 12, 13, 17, 20, 36, 47, 49, 55, 68, 75, 76, 77, 93, 122, 124, 130, 167, 168, 179, 194

Les Sculptures de Picasso, 19, 68, 100, 167

on signs, 99, 100, 101, 119, 122, 130

Kandinsky, Vassily, “Reminiscences,” 5

Kant, Immanuel, Critique of Pure Reason, 20

Kepler, Johannes, 2

Kernodle, George, 24

Klein, Hélène, ix

Kramar, Vincenc, 191

Krauss, Rosalind, xi, 106–08, 110, 116

Kubelik, Jean, 186

L

Lacan, Jacques, 101

The Four Fundamental Concepts of Psycho-Analysis, 101

Laforgue, Jules, 4

language theory, 111–16, 191–93

and Cubism 116–23

and differentiation, 111, 114–15

and metaphor, 111, 112, 113, 114, 116, 118, 122

and metonymy, 114, 116, 122

versus signs, 116

and synecdoche, 114, 116, 122

lattice, see Braque and lattice; Cubism and lattice; Picasso and lattice; see also Cubist grid

Laude, Jean, 106, 110, 111, 191

“Picasso and Braque, 1910–1914: The Transformation of Signs,” 103, 104

Laugel, August, 117

Optics and the Arts, 4, 6

Laurens, Henri, 166

Laurens, Quentin, x

law of differentiation, see Bréal, Michel

Léal, Brigitte, ix

Léger, Fernand, viii, 52, 62, 92, 153

Nude in the Studio (1912), 92, 94

Leonardo da Vinci, 25, 99

Lévi-Strauss, Claude, Structural Anthropology, 101

Lewis, Willie, 188

photograph of, 188, 190

Lipchitz, Jacques, 133

Locke, John, 2–3, 4, 6, 12, 109

Essay Concerning Human Understanding, 2

M

“Mademoiselle Léonie,” 78, 79; see also Picasso, works by

Maillol, Aristide, 8, 58

Male torso, Ionian style, 50, 51

Malevich, Kasimir, 62, 124, 181

Mallarmé, Stéphane, 7, 19, 105, 117

Manet, Edouard, 4, 7, 8, 70, 105

Fife Player (1866), 8

Manolo, see Hugué, Manolo

Masheck, Joseph, 2, 7, 8

“The Carpet Paradigm,” 7

Matisse, Henri, 5, 7, 17, 28, 30, 49, 50, 51, 55, 75, 104

The Joy of Life (1905–06), 29, 30, 50

Young Sailor (II) (1906), 55

Matamoros, Joséphine, xi

Mauss, Marcel, 104

McCully, Marilyn, vii

Mercure, 153

Metzinger, Jean, see Gleizes, Albert, and Jean Metzinger

Michaelangelo, 8, 27, 64

Miró, Joan, 153

“Modern Style,” 12, 49

Modigliani, Amedeo, 133

Mondrian, Piet, 9, 123, 124, 181

Composition (1913), 123, 124

Monet, Claude, 2, 4, 5, 7, 26, 49, 70–71, 108, 116, 118, 183

Morgan, Jacques de, L’Humanité préhistorique, 119

Moser, Kolo, 9, 44

Mucha, Alphonse, 34

Müller, Max, 112, 114, 119

Munthe, Gerhard, 8, 44

The Tower of Blood (1902), 9, 9

Museum of Modern Art, New York (MoMA), ix, x, xii, 20, 30, 106

N

Nadelman, Elie, 66, 68

Head (c. 1906), 66, 67, 68

Neo-Impressionism, 75

Neo-Platonism, 2, 12

Nesbit, Molly, ix, xi

O

O’Brian, Patrick, 142

October, 106

Olivier, Fernande, 10, 125, 128, 186, 188

“open” form, see Cubism and open form, Picasso and open form

P

Panofsky, Erwin, 24

papier collé,

antecedents of, 128–29

and Cubist constructions, 166–68, 175

linguistic character of, 105–06, 107, 109–10

in work by Braque, 45, 105–06, 152–56

in work by Picasso, 105, 108, 146, 148, 152, 166

in work by Picasso and Braque, 108, 152

Paris-Journal, 1, 10, 168, 186, 188

Paulhan, Jean, Braque le patron, 152

Peirce, Charles Sanders, 109

Penrose, Roland, 64, 79, 81, 82

perception theory, xi, 1, 3, 6, 17, 20, 49, 62, 68; see also empiricism and perception theory

relationship to linguistics, 3

role in French art, 3–8

Perry, Lilla Cabot, 4, 116

perspective, perspectival space, ix, 7, 23, 24, 25, 62, 69, 108; see also Braque and perspective; Cubism and perspective; theater, theatrical space, conventions

Picabia, Francis, 148

Picasso and Braque, 14, 17, 21, 23, 24, 43, 44, 46, 70, 75, 86, 88, 91, 92, 103, 104, 108, 146, 148, 156, 157, 166, 179, 181, 186, 188, 194

correspondence, 10, 173

discussions between, 10, 13, 92

and faceting, 46

and the grid, 14–15, 43, 44

invention of Cubism, viii, 2, 24, 25, 100, 194

and overlapping planes, 44

and perspective, 14, 23

shared vocabulary of images, 103–104, 126, 186, 188

and signs, 17, 103–104, 108, 179, 182, 185; see also Braque and signs; Cubism and signs; Picasso and signs; signs similar technique, x, 108, 156, 188

and spatial organization, 14–15, 23–24, 25, 43–44, 46

statements about Cubism, ix, 119, 179, 181

and superimposed planes, 88

and visual language, 108,

working relationship between, 10, 30, 168

“Picasso and Braque: Pioneering Cubism,” x

Picasso, Claude, x, xi

“Picasso: Dessins et papier collés,” xi

Picasso, Pablo,

and abstraction, 17, 71, 75–76, 77, 82, 93, 94, 95, 96, 173

and African art, 100, 125

Blue period of, 49, 76, 96

and boxing, 188

at Cadaqués, 75, 77, 78, 82

and caricature, 130, 131, 133, 169, 173

at Céret, 46, 133, 141–42, 175, 186

and Cézanne, 23, 28, 30–31, 50, 52, 69, 82

collaboration with Georges Braque, see Picasso and Braque

and constructions (sculpture, reliefs), 10, 64, 66, 68, 76, 165–79

and decoration, 10, 12, 34, 36, 37, 49, 52, 60, 82, 91, 110

development (innovations) of Cubism, viii, 1, 19, 24, 49, 88, 103, 148, 165, 194

and faceting, 12, 13, 17, 34, 36, 37, 46, 50, 55–60, 62, 64, 68, 69, 70, 71, 72, 76, 82, 120

and figuration, 30, 49–97 passim, 130–41

and geometric

anatomy, 17, 21, 33, 51–60, 76–96 passim, 160

armature (scaffolding, structures), 83, 133, 146, 152, 158, 160, 173

forms, 21, 52, 56, 60, 122, 142, 157, 161, 162, 179

representation, 33, 56, 64, 66, 68, 82, 83, 94, 96, 165

signs, 158, 160, 162

volume, 70, 96

and the Grebo mask, 68, 100, 109, 166, 167, 168, 169, 175

and the grid, 15, 36, 43–45, 71–88 passim, 92–93, 142, 194; see also Cubism and the grid; Cubist grid

and Hellenistic heads, 50

at Horta de Ebro, 40

and Impressionism, 24, 49, 70–71

influence on Braque, 37, 40, 70, 86, 152, 153

and language theory, 111, 118

for interpretation of Picasso’s work through language theory, see Cubist studies; Picasso and signs; Picasso and linguistic concepts

and the lattice, 36, 46, 69, 71, 82

and Léger, 92

and Le Havre, 186, 188

and linguistic concepts, 120–22, 123–94 passim

MoMA retrospective of 1980, 106

motivation, 1, 91, 92, 148, 162

and narrative, 34

and open form, 20, 47, 49, 60–68, 72, 76, 168, 169

and overlapping planes, 14, 18, 47, 72, 82, 83, 88, 130, 133, 173

and papier collé, 105, 108, 146, 148, 152, 153, 156, 157, 166

and projective space, 14, 28, 36, 43–45, 49, 69, 91

and repetition, 119, 162

Rose period of, 96

and the sculptural, 36, 49–50, 60, 68–69, 76, 91, 165, 176; see also Picasso and constructions

at Sorgues, 152

and signs, 17, 18, 66, 68, 99, 100, 101, 103, 104, 107, 108, 109–10, 122, 125–26, 128, 129, 130–152 passim, 153, 156, 157, 158, 161–63, 165, 166, 167–69, 175, 179, 194; see also Cubism and signs; Cubist sign; signs

statements on his work 10, 12, 14, 16–17, 46, 64, 68, 73–74, 77, 81–82, 91, 92, 95–96, 99, 100, 108, 119, 166, 173, 175

studio photographs, 85, 126, 133, 134, 144, 166, 167, 174, 174, 175, 176, 176, 178

and superimposed (overlapping) planes, 34, 37, 44, 62, 70, 82, 87–88, 91, 158, 166, 173, 194

and Surrealism, 93, 110, 169, 176, 194

and Symbolism, 17

and symmetry, 73–74, 78, 108, 123–24

and tangential planes, 74–75, 76, 77, 82–83

and theatrical conventions (of space), 31–32, 34, 52, 88

and three-dimensionality, 12, 21, 31, 36, 37, 38, 49, 55, 60, 66, 71, 91, 165, 169

and traditional representation, 18, 30, 37–38, 49, 69, 76, 77, 82, 92, 93, 95–96, 103, 105, 122, 153, 194

and vertical strips, 45–46, 83, 86, 88, 91, 92, 121

and visual jokes, puns, 161, 175, 194

works by,

Accordionist (1911), 1

Accordionist (1912), 187, 188

The Aficionado (1912), 90, 91

Anchor (1912), 185, 185

Apollinaire, Guillaume (1905), 130, 131, 132

Apollinaire, Portrait of Guillaume (1913), 130, 131, 132, 133

Bather (1909), 60–61, 61, 62, 72, 75

Le Bock (Glass of Beer) (1909), 36, 37, 40, 44, 69

Bottle and Glass on Pedestal Table (1912), 151, 152

Bottle, Cup, and Newspaper (after Dec. 4, 1912), 128, 129

Bottle of Bass and Guitar (1912), 18, 19, 173, 173

Bottle on Table (after Dec. 8, 1912 papier collé, D. R. 551), 129, 129, 130

Bottle on Table (after Dec. 8, 1912 papier collé, D. R. 552), 129, 129, 130

Bottle on Table and Guitar on Table (1913), 165, 165

Bowl with Fruit, Violin, and Wineglass (after Dec. 2, 1912), 107, 107

Boxers (1911–12), 188, 190

Boxing Ring (1911–12), 188, 190

Bread and Fruit Dish on a Table (1908–09), 110

Bust Constructed from Strands (1909), 62, 64, 64

Carafe and Three Bowls (1908), 36, 37, 40, 44

Daniel-Henry Kahnweiler (1910), 16, 17, 77, 79, 81, 83, 86

Les Demoiselles d’Avignon (1907); 28, 30, 32, 33, 33, 34, 36, 50, 51, 52, 53, 53, 55, 60, 71, 72, 103, 130

Double Bass and Fruit Bowl (1913), 178, 180

Ensemble study with one figure (1907), 32, 32, 50

Female Nude (1910), 73, 75, 84, 87

Female Nude: “J’aime Eva” (1912–13), 90, 91

Figure Constructed from Strands, Front View (1909), 62, 63, 64

Figure Constructed from Strands, Side View (1909), 62, 63, 64

Figure studies (1909), 61, 62

Figure with Double Bass (1913), 162, 162, 178, 180

Figure with Tenora and Dog in Front of a Fire (1911–12), 140, 141, 142

Frontal view of a nude (1907), 50, 51, 55

Frontal view of a nude with raised arms (classical) (1906–07), 51, 52, 60

Frontal view of a nude with raised arms (geometric) (1907), 51, 52

Girl with Mandolin (Fanny Tellier) (1910), 79, 81, 82, 83, 87

Glass, Guitar, and Bottle, (1913), 166, 166, 174

Guitar (1912 construction), 68, 166, 167, 167, 168, 173, 173, 174, 175, 179

Guitar (1912 drawing; Zervos II**, 768), 150, 152

Guitar (1912 drawing; Zervos XXVIII, 196), 172, 173

Guitar (1912 painting), 172, 173

Guitar and Beer Glass (1913 drawing; Zervos XXVIII, 182), 178, 181

Guitar and Beer Glass (1913 drawing; Zervos XXVIII, 184), 178, 181

Guitar and Bottle of Bass (1913), 125, 178, 180

Guitar and Bottle on Square Table (Studies for a Sculpture) (1913), 157, 158, 159

Guitar and Clarinet on Table (1913), 179, 183

Guitar and Seated Women with Guitars (Studies for Construction); (1912), 169, 170, 175

Guitar, Beer Glass, and Bottle of Bass (after April 23, 1913), 178, 181

Guitar, Beer Glass, and Bottle of Bass, with Guitar Player (1913), 162, 162

Guitar on a Table (1912), 172, 173

Guitar Player (Study for a papier collé) (1913), 175, 178

Guitar, Sheet Music, and Glass (after Nov. 18, 1912), 105, 105, 106, 109–10, 156, 157, 158, 160

Guitarist (1913), 138, 139, 162

Head (1912 drawing), 157, 158, 160

Head (after Dec. 9, 1912 papier colli), 157, 158, 160

Head (1913 drawing; Zervos XXVIII, 253), 175, 177

Head (1913 drawing; Zervos XXVIII, 265), 163, 164

Head (1913 drawing; Léal, carnet 17, p. 51r), 163, 164

Head (1913 papier colié, D. R. 595), 92, 92, 163, 164

Head (Frank Haviland) (1912), 133, 134

Head (Study for a Construction) (1912), 169, 171

Head and Shoulders of a Woman (1909), 62, 64, 64, 69, 91

Head of Girl (1911), 136, 137

Head of Harlequin (1913), 138, 139, 162

Head of Man (1912 drawing; Zervos II*, 327), 87, 89, 130, 132, 133, 153, 154

Head of Man (1912 drawing; Léal, carnet 16, p. 10v), 87, 89, 130, 131, 132

Head of Man (1913), 137, 139, 162

Head of Man in Bowler Hat (after Dec. 9, 1912), 157, 160, 161

Head of Man with Moustache (1912), 87, 89, 130, 137, 139, 162

Head of Man with Pipe (1911), 87, 89, 130, 131, 148, 152

Head of Man with Pipe (1912), 17, 18

Head of Woman (1913), 93, 95

Houses and Palm Trees (1909), 40, 41

Landscape (1911), 130, 131, 152

Mademoiselle Léonie (1910), 78, 80, 82, 87, 142, 168

Mademoiselle Léonie, plate 1 from Saint Matorel (1910), 78, 80, 87, 142

“Ma Jolie” (Woman with a Zither) (1911–12), 98, 100, 126, 145, 169

Man in an Armchair (Frank Haviland) (1912), 135, 136

Man in an Armchair by a Piano (Frank Haviland) (1912), 135, 136, 137

Man Leaning on a Column (1914 drawing; inv. 1678), 94, 96, 96

Man Leaning on a Column (1914 drawing; inv. 1700), 94, 96, 96

Man with Banderilla (1912), 90, 91, 125

Man with Clarinet (Man with Tenora) (1911–12), 141, 142, 146

Man with Guitar (1911–1913 painting), 144, 145

Man with Guitar (1913 drawing; Zervos XXVIII 257), 175, 177

Man with Guitar (1913 drawing; Léal, carnet 17, p. 46r), 175, 177

Man with Guitar (1913 painting), 175, 176, 177

Man with Hat (1912 drawing), 18, 18

Man with Hat (after Dec. 3, 1912 papier collé), 121, 122, 124, 130, 160, 161, 192, 194

Man with Mandolin (1912), 85, 86, 87, 144

Man with Pipe (1911), 87, 88, 148, 152

Man with Tenora (1911–12 drawing; Zervos XXVIII, 43), 140, 141, 142

Man with Tenora (1911–12 drawing; Zervos XXVIII, 48), 140, 141, 142

Man with Tenora and Book (1911–12), 140, 141, 142

Man with Violin (1912), 86, 87, 88

Mandolin and Clarinet (1913), 179, 183

Mandolin Player (1911), 85, 85, 86, 92, 126, 126, 144

Model and Surrealist Sculpture (May 4, 1933), 169, 171

Monk with Mandolin (Buffalo Bill) (1911), 143, 144, 144, 145

Nude (1910 painting; D. R. 349), 72, 72, 82, 84, 91

Nude (1910 painting; D. R. 363), 48, 49, 78

Nude (1910 watercolor), 73, 75, 77, 87, 94, 123

Nude Leaning on a Sculpture Stand (Study for Artist’s Model) (1912), 135, 137

Nude with Drapery (1907), 54, 55, 60, 72, 78

Nude with Raised Arms (1907), 55, 56, 62

Nude with Raised Arms in Front of Parted Curtain (1906), 30, 31

The Old Port of Marseille (1911), 151, 152, 168

The Poet (1911), xvi, 1

Reservoir at Horta (1909), 40, 41, 44

Sailor Playing the Accordion, 188; see Accordionist (1912)

Saltimbanques (1905), 119

Seated Female Nude (1910), 69, 70, 71, 71

Seated Figure with Guitar (1912), 168, 170, 188, 189

Seated Man (1912), 153, 154

Seated Man Leaning on a Table (1914 drawing; Zervos VI, 1198), 96, 97

Seated Man Leaning on a Table (1914 drawing; Zervos VI, 1220), 96, 97

Seated Man Leaning on a Table (1914 watercolor), 96, 97

Seated Woman (1909), 12, 13, 17, 62, 64, 65, 69, 71, 91

Seated Woman with Guitar (1912 drawing; Zervos XXVIII, 109), 86, 86, 87

Seated Woman with Guitar (1912 drawing; Zervos XXVIII, 237), 90, 91

Seated Woman with Guitar (1912 drawing, Zervos 11*, 392), 120, 121, 121, 124, 130, 158

Seated Woman with Guitar (1912 drawing; Zervos i1**, 760), 149, 152

Seated Woman with Guitar (1912 drawing; Zervos XXVIII, 65), 168, 170, 188, 189

Seated Woman with Guitar, state I (1912), 188, 189

Seated Woman with Guitar, state IV (1912), 188, 189

Seated Woman with Guitar (Study for a Construction) (1912 drawing; Zervos XXVIII, 131), 168, 170

Seated Woman with Guitar (Study for a Construction) (1912 drawing; Zervos XXVIII, 132), 169, 171

Seated Woman with Mandolin (1911), 84, 84, 86, 144, 145, 146

Seated Woman with Violin (1912), 150, 152

Shells on a Piano (1912), 133, 137

Siphon, Glass, Newspaper, and Violin (after Dec. 2, 1912), 104, 104, 105

Small Violin (1912), 157, 158

Souvenir de Havre (Accordionist) (1912), 186, 187, 188

Standing Nude (1908 drawing), 58, 60, 72

Standing Nude (1910 drawing; Zervos XXVIII, 20), 48, 49, 78, 79

Standing Nude (1910 drawing, not in Zervos) 77, 78, 78, 79

Standing Nude (1910 drawing; Richet 251), 78, 79

Standing Nude (1910–11 drawing), 82, 83, 87, 123, 123, 124

Standing Nude with Clasped Hands (Proportion Study) (1907), 57, 58

Standing Nude with Raised Arms (1907 drawing; Seckel, carnet 9, inside back cover), 55, 56, 62

Standing Nude with Raised Arms (1907 drawing, Zervos II*, 14), 58, 60

Standing Nude with Raised Arms (1910 drawing; Zervos XXVIII, 16), 72, 72, 74–75, 76, 77, 78, 82, 91, 123

Standing Nude with Raised Arms (1910 drawing; inv. 1241), 73, 75, 76, 77, 79, 82, 87, 124

Still Life with Chair Caning (1912), 156, 156

Still Life with Clarinet (Still Life with Bottle) (1913), 179, 183

Still Life with Glass and Lemon (1910), 14, 15, 22, 23, 36, 44, 45, 47, 88

Student with Pipe (1914) 193, 194

Studies for Bather (1909), 61, 62, 72, 94

Studies of a Nude, Seen from the Front (1907), 52, 52, 55

Studies of Torsos and Buttocks (1909), 62, 63

Study for a Portrait of Frank Haviland (1912), 133, 134

Study for Soldier and Girl (1912), 137, 138

Study for Guitar on a Table (1912), 172, 173

Study for Les Demoiselles d’Avignon (1907, Seckel, no. 22), 32, 32, 50, 53

Study for Les Demoiselles d’Avignon (1907, Seckel, cat. 24), 52, 52, 53

Study of Nose and Upper Lip (1909), 64, 65

Study of Nose, Mouth and Chin (1909), 64, 65

Three Heads (1913), 163, 165

Three Women (1907 watercolor), 11, 12

Three Women (1907–08 drawing), 34, 34, 37

Three Women (1907–08 painting), 28, 30, 34, 35, 36, 37, 38, 40, 50, 60, 62, 66, 69, 72, 120, 120, 121, 123

Three Women (Rhythmic Version) (1908), 59, 60, 72

Turning Figure with Raised Arms (1908 drawing; Zervos XXVI, 297), 59, 60, 61, 62

Turning Figure with Raised Arms (1908 drawing; Zervos XXVI, 312), 59, 60, 62

Turning Figure with Raised Arms (1908 drawing; Zervos XXVI, 379), 59, 60, 62

Two Nudes (1906), 31, 31, 32, 50, 58

Two Profile Studies of a Man (1892), 57, 58

Two Seated Nudes, Face to Face in an Interior with Curtains, and Hand Study (1906–07), 31, 32, 50

Violin (after Dec. 3, 1912 papier collé; D.R. 524), 121, 122, 130, 156, 157, 159

Violin (1912 drawing; Zervos II**, 769), 149, 152

Violin (1912 papier collé; not in Zervos), 174, 175

Violin (1912–13 construction), 174, 175

Violin and Anchor (1912), 44, 45, 46, 184, 185, 186, 188, 194

Wineglass, Fan, and Violin (1911), 186

Woman at a Piano (1912), 135, 137

Woman Seated in an Armchair (1909–10), 69, 70, 70, 124, 125

Woman Seated in an Armchair (1910), 69, 70, 71

Woman with Chemise in an Armchair (1913), 92, 93, 95, 163, 178, 194

Woman with Guitar (1913 drawing; Zervos XXIX, 8), 92, 93, 163, 163

Woman with Guitar (1913 drawing; Zervos XXVIII, 172), 92, 93, 163, 163

Woman with Guitar or Mandolin (1913), 92, 94

Woman with Mandolin (1910 painting, D. R. 361), 74, 75, 76, 77, 78, 82, 83

Woman with Mandolin (1911 drawing; inv. 1210); 83, 83,

Woman with Mandolin (1911 drawing; Zervos VI, 1102), 83, 84, 136, 137

Woman with Mandolin (1911 drawing; Zervos XXVIII, 39), 145, 147

Woman with Raised Arm (1913 drawing; Zervos VI, 1240), 178, 182

Woman with Raised Arm (1913 drawing; Zervos VI, 1260), 92, 95, 178, 182

Woman with Raised Arm (Still Life with Bottle) (1913), 178, 182

Woman with Tenora (1911–12), 141, 142, 146, 147

Woman’s Head (Fernande) (1909 bronze sculpture), 64, 66, 67, 68

Woman’s Head (Fernande) (1909 plaster sculpture), 66, 67, 68, 69, 73, 123, 168

Woman’s Head (Fernande) (1909 watercolor), 64, 66

Pissarro, Camille, 2, 26, 118

Platonic form, 10, 56, 64, 117; see also Neo-Platonism

pointillism, 133, 194

Post-Impressionism, 1, 13, 20, 21, 116, 117, 118, 182

Poussin, Nicolas, 26

Q

quattrocento painting, ix, 25

R

Rauschenberg, Robert, 178

Raynal, Maurice, 18, 119, 120

Reff, Theodore, 38

Rembrandt van Rijn, 6, 99, 108

Renaissance, vii, ix, 5, 7, 13, 21, 24, 25, 26, 27, 28, 36, 86, 100, 101

Renoir, Pierre-Auguste, 26, 64, 95, 118

Richardson, John, vii, 60

Life of Picasso, vii

Richet, Michèle, ix

Robbe-Grillet, Alain, 101

Roché, H. P., 186, 188

Rodin, Auguste, 66

Rood, Ogden, 5

Rosenblum, Robert, xi, 100, 104, 128

Cubism and Twentieth-Century Art, 100

Rosselet, Joan, 105, 106, 156, 157, 166

Rosso, Medardo, 66

Rubin, William, ix, x, xi, 75, 82, 101, 103, 108, 167, 169

Rubinfien, Leo, ix

Russian Formalists, 101, 104, 108, 116, 191

S

Salmon, André, 1, 168, 186, 188

Salon d’Automne, 28, 69

Salon des Indépendants, 12, 30, 37

Saussure, Ferdinand de, viii, ix, xi, 101, 115, 116, 118, 119, 191

and art criticism, 101

and arbitrary signs, 102, 107, 109, 110, 111, 113, 115, 118

Course in General Linguistics, 101, 102, 103, 106, 115, 16, 119, 191

and Cubist studies, 101–94 passim, see especially 101–11, 168, 191; see also Cubist studies

and difference, 102, 103, 104, 107, 110, 111, 115–16

and phonetics, 101–03

and psychoanalysis, 101

and semiology, 102, 106, 110

and structuralism, 101

theoretical model, vii, viii, 101–111, 113, 116, 118–19, 124, 191

semiology, see signs; Cubist studies; Saussure, theoretical model

Semper, Gottfried, 8, 9

Der Stil (Style in the Technical and Constructive Arts, or Practical Aesthetics), 8, 9, 167

Serra, Richard, 166

Seurat, Georges, 117

Shchukin, Sergei, 30, 55, 77, 191

Shklovsky, Viktor, 191, 192–93

“Art as Technique,” 191

Signac, Paul, 11, 34, 75

Félix Fénéon (1890), 11, 34

signs, see also Braque, and signs; Cubism and signs; Cubist sign; Picasso and Braque and signs

Picasso and signs arbitrary nature of, 102, 107, 109, 110, 111, 113, 115, 116, 118, 166, 167, 182

associationist philosophy and, 111–12, 113, 115, 118

conceptual, 101, 137, 185

Cubist, ix, 21, 68, 99, 100, 103, 107, 110, 117, 122

differential nature of (meaning derived from differentiation), 102–03, 104, 105, 106, 110, 114, 116, 168; see also “Law of Differentiation”

geometric, 158, 160, 162

as graphic emblems, 99, 100, 169, 179

ideographic, 138, 162, 163, 165

and Impressionism, 116–18, 181–83

and language, 3, 6, 103, 106, 108–09, 111–16, 117, 167–68, 179

limitations of, 182–83

linguists and, 111, 112–16, 118

metaphorical, 122, 160, 163

and Post-Impressionism 117–18

as products of art, 19, 100

rethinking binary nature of, 118

Saussure’s theory of, 102–03, 109, 168, 191

and superimposition with forms, 138, 141–46, 148, 153, 156, 157, 158, 161, 162, 163, 165, 169, 179

and Symbolism, 6, 19, 21

synecdochic, 124, 125, 126, 128, 129, 130–152 passim, 153, 156, 157, 158, 160–63, 165, 169, 175, 178, 194

Silver, Kenneth E., ix, 20

Smith, David, 64, 166

Socrates, 113

Les Soirées de Paris, 166, 178, 186

stage space, see theater, theatrical space, conventions

Staller, Natasha, xi, 2

Stein, Leo, and Gertrude Stein, 5, 10, 77

patronage of Picasso, 5, 77

Stein, Leo, 14, 28, 64, 66, 76, 77, 91, 95, 146, 156–57, 162

Stein, Gertrude, 28, 30, 77, 173

Steinberg, Leo, xi, 30, 60

Sterne, Laurence, Tristram Shandy, 191

Stieglitz, Alfred, 10, 82, 123

Structuralism, see Cubist studies; Saussure, theoretical model Sudour, Jeanne-Yvette, ix

Suprematism, 88

Surrealism, see Picasso and Surrealism Surrealists, 93, 101

Symbolism, Symbolists, viii, 2, 5–6, 17, 21, 28, 116, 119

and decorative tradition, 7

and poetry, 18

and signs, 6, 7–19

T

Taine, Hippolyte, xi, 4, 5, 6, 7, 111, 112, 114, 115, 116, 117, 118, 124, 179, 181–82, 191

On Intelligence, 4, 5, 111–12

Philosophy of Art, 4

Tatlin, Vladimir, 166

Tellier, Fanny, 81–82

theater, theatrical space, conventions, 23–28, 30, 31, 34, 71; see also Cubism and theatrical space; Picasso and theatrical space

“Thorn Puller,” 31, 32

Toklas, Alice B., 30

291 Gallery, 10

U

Utley, Gertje, ix

Uhde, Wilhelm, 76, 77, 82

Université de Sainte-Etienne colloquium on Cubism, 103, 104

V

Van Gogh, Vincent, 1

Vallier, Dora, 152

Varnedoe, Kirk, xii

Vauxcelles, Louis, 40

Vendryes, Joseph, Le Langage, 119, 120

Venus de Milo, 58

“Violon d’Ingres,” 186; see also Picasso, works by, Violin and Anchor

vision, vision theory, 2, 3, 21, 49, 117, 181–83; see also perception theory; empiricism and vision

Vlaminck, Maurice, 1

Vollard, Ambroise, 66, 69, 76, 77

W

Warnod, André, 99

Werth, Léon, Some Painters, 119

Whitney, William Dwight, 112, 113, 114, 115, 119

Wickhoff, Franz, 194

William of Ockham, 109

Will-Levaillant, Françoise, 104, 105, 106

“The Letter in Cubist Painting,” 104

Wittgenstein, Ludwig, 114

Wólfflin, Heinrich, 8, 106, 107

Principles of Art History, 8

Woolf, Virginia, 128

Wundt, Wilhelm, 2

Z

de Zayas, Marius, 10, 17

Zelevansky, Lynn, x

Zervos, Christian, ix, 79, 81, 82, 156, 158, 188

Zola, Emile, 4, 8

Next chapter

Base text size -

Chapter images ()