Bilder, die die Welt bewegten: Von Lascaux ...
von Klaus Reichold
EUR 16,95

  
Picasso. Sonderausgabe (Big Art)
von Carsten-Peter Warncke
EUR 9,99

  
Blue Art 2009. Gallery Kunstkalender: Matis...
EUR 34,95

Leben mit Picasso
von Francoise Gilot
EUR 12,90

Ein Tag mit Picasso (Abenteuer Kunst)
von Pablo Picasso
EUR 9,90

Pablo Picasso: 1881 - 1973. Das Genie des J...
von Ingo F. Walther
EUR 6,99

The Artist and the Camera: Degas to Picasso
Degas to Picasso
by Dorothy M. Kosinski
Kosinski directed this study of how some influential artists at the end of the nineteenth and the beginning of the twentieth centuries utilized photography in their paintings and sculptures. Naturally, many artists used the medium to provide a quick sketch that would aid in the completion of a work. Other uses were much more intricate and are thoroughly analyzed here; for example, Edvard Munch sought in photography a way to reveal a subject's "inner psychic terrain." The artists discussed are Bonnard, Brancusi, Degas, Gauguin, Khnopff, Moreau, Mucha, Munch, Picasso, Rodin, Rosso, von Stuck, Vallotton, and Vuillard. The studies are rigorous but very rewarding for art enthusiasts. This book is based on what must be a mind-bending exhibit of the Dallas Museum of Art. Bonnie Smothers
At the turn of the nineteenth century, artists began to discover and explore the artistic and practical possibilities of photography. This stunning book shows how some of the most influential artists of the period-among them Bonnard, Brancusi, Degas, Gauguin, Mucha, Munch--enfolded photographs into their creative processes and put the "wondrous new medium" to use in paintings and sculpture.

Picasso: 200 Masterpieces from 1898 to 1972...
by Pablo Picasso
Picasso was an extremely prolific artist, and there remain many little-known, rarely seen works that have been held in private collections. In the fall of 2001, Milan's Palazzo Reale presents an exhibition of many of these works, which are also featured in this spectacular oversized art book. It is alive with splashes of brilliant color and is a distinguished addition to any art bookshelf, featuring 300 illustrations that cover oil paintings, aquatints, prints, sculpture, and terracottas, as well as textiles such as the Ballet Russe costumes Picasso created for Diaghilev.

Pablo Picasso: The Sculptures
by Werner Spies, Pablo Picasso
For years Pablo Picasso's sculptural oeuvre was one of the best-kept secrets of 20th century art. It was only through retrospectives in Paris, London and New York during the 1960's that Picasso the sculptor became known to a larger public-who discovered a complexity and variety in his sculptures that easily rivals that of his paintings and drawings. Pablo Picasso: The Sculptures is catalogue raisonn of Picasso's sculptures, a seminal work informed by conversations between the author, Picasso specialist Werner Spies, and Picasso himself. The present edition has been thoroughly revised and now includes numerous color illustrations of important pieces. In all this volume features over 740 works by the artist, ranging from miniature paper figures to constructions from metal, wood, and found objects, from folding sculptures made from tin to massive, at times monumental works. A definitive statement on Picasso's sculptural oeuvre, this book provides a key to understanding and appreciating works that, in their ingenuity and their inventiveness, still provide an inexhaustible source of inspiration for today's artists.

Picasso: Style & Meaning
by Elizabeth Cowling
Pablo Picasso (1881-1973) is notorious for various forms of excess -excess in his love life, an excessive output, an excessively inconsistent style. In this groundbreaking book Elizabeth Cowling draws on her exceptional knowledge as an authority on Picasso to argue that he came to equate stylistic consistency with sterility. Abandoning the traditional use of subject matter to achieve variety and meaning, Picasso gradually reduced his to a handful of standardized motifs, and used a vast array of different styles as the principal means of communicating ideas and feelings. In short, style is meaning in Picasso's art; his notoriously mercurial nature found expression in stylistic variety and experimentation.
With rare intelligence and clarity, the author has woven biography and analysis into a compelling narrative. The 600 illustrations include all of Picasso's major works up to the beginning of World War II, and these are juxtaposed with their sources - Old Masters, contemporary artists, found objects, and Picasso's own drawings and sketches - to make a visually telling counterpoint to the arguments of the text. Scholars familiar with Picasso's work will find Cowling's fresh insights a revelation and readers new to Picasso will come away with a profound understanding of both Picasso and his art.

Picasso and Portraiture: Representation...
Representation and Transformation
by William Rubin
Ingram
The first 100 years of modern art witnessed the popularization of photography and an increasing emphasis on abstraction in painting, which threatened the survival of portraiture as a genre. It continued to flourish, however, because modern painters--Picasso foremost among them--sought and found new ways to portray the human face. The hundreds of works reproduced here illustrate the multiple solutions Picasso invented to solve the "problem" of the modernist portrait. Illustrations, 230 in color.

Pablo Picasso: The Lithographs
The Lithographs
by Pablo Picasso
Book Description
Like no other medium in which he worked, Picasso's lithography only began to realize its full potential in the decades after 1945. This new volume presents Picasso's entire lithographic oeuvre, consisting of 855 pieces-for the first time in full color throughout the book. Assembled over the course of three decades, this collection is unmatched, impossible to be repeated or recreated in the same way. Its uniqueness lies in the rarity of its test and state printings, and its numerous single printings and unpublished sheets. Pablo Picasso: The Lithographs is the first collection of such work to list every printed sheet as an individual work and thus constitutes the most reliable reference work for the artist's lithographic oeuvre. An interview with printer Henri Deschamps offers an immediate, contemporary account of the process of creating the sheets, and Erich Franz's illuminating introduction to Picasso's lithography sharpens the viewer's eyes to the innovative diversity of this master artist whose importance has still yet to be completely accounted for.

Conversations With Picasso
by Brassai,
Amazon.com
Henry Miller called Brassaï (born Gyula Halasz) "The Eye of Paris." As a photographer, journalist, and author of photographic monographs and literary criticism, he had an uncanny ability to capture the Paris art world of the mid-20th century. Conversations with Picasso, originally published in 1964, is a collection of Brassaï's memoirs, resurrected from scraps of paper he stored in a huge vase each night after his talks with the famous Spanish painter, whose work he photographed from 1932 to 1962. In keeping with the lively bohemian spirit that so characterized Pablo Picasso's milieu, Brassaï wrote these notes in a vivid, conversational style, and they are now vignettes, of a sort, from a theatrical time capsule. Presented alongside the actual photographs he took during his visits with Picasso, Brassaï's anecdotes of the artist and his most intimate associates paint an unforgettable portrait of Picasso the master artist and the man. Sly humor and telling details embellish these accounts--in one particularly well-rendered scene, Picasso throws a temper tantrum over a lost flashlight--that vividly depict many of the artist's creative revelations, his insatiable curiosity, and his views on the art of his time, including that of the surrealists. One very strong image depicts Picasso, with brush in hand, using a palette made of newspaper. Confiscated by military censors due to the mere presence of World War II headlines, this photo represents one of the many wartime frustrations Picasso endured, including using a bathroom for a studio and secretly casting sculptures in scarce bronze at night. Underneath the worshipful posturing so prevalent in writings of the time, in which an everyday shopping list of paint colors is hailed as a prose poem, Brassaï offers an intimate chronicle full of loving detail of the impossible yet delightful enfant terrible. Entertaining, charming, light but truly satisfying fare. --A.C. Smith

The Ultimate Picasso
by Brigitte Leal
Amazon.com
If you had to choose just one book about Pablo Picasso, the most protean artist of the 20th century, what would you look for? Copious, good-quality reproductions. An authoritative account of the way his approach to painting was influenced by his personality, the women in his life, and his awareness of art made by others. An in-depth treatment of key works like Les Demoiselles d'Avignon (which Picasso memorably called his "first exorcism painting") and signature themes, like the half-man, half-animal Minotaur. Then there's the question of tone. Some books cast Picasso as a demigod or a destroyer. Others, like art historian John Richardson's A Life of Picasso, offer a more balanced, psychologically penetrating portrait of the artist.
Hefty, elegant, and inclusive, The Ultimate Picasso hits most, though not all, of these marks. It offers more than 1,200 reproductions (nearly 800 in color) spanning the artist's entire career. Smoothly translated from the French, the book weaves biographical detail and discussions of the art into a concise narrative. ("Olga became pregnant in the summer of 1920, and in Picasso's work forms blossomed and flesh took on the massive quality of stone.") The three authors are all experts--Léal and Bernadac are (respectively) present and former curators of the Musée Picasso in Paris, and Piot coauthored the catalogue raisonné of Picasso's sculpture. They clearly explain visual sources, duly acknowledge leading art historians' interpretations, and choose good quotes from contemporaries. Yet the text can be surprisingly skimpy. The 16-page section on Guernica, for example, has barely two pages of discussion about the painting and its genesis. The authors keep an extremely tight focus on their subject, with only as much mention of Picasso's contemporaries or the outside world as is absolutely necessary.

The major flaws, however, are the authors' hyperbolic view of their subject ("Picasso did not paint nature, but the suffering of the men and women of his time, creating from it beauty and truth") and the lack of any psychological insight about the repeated devastation Picasso wreaks on the female form. In this old-fashioned portrait of the male artist as genius, human failings do not exist, unless they belong to somebody else. --Cathy Curtis