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During the spring of 1913, Pablo Picasso produced a series of papiers collés in which we find, in addition to the pasted papers that are the works’ principal component, something even more unconventional: metal straight pins, each of them passing beneath the surface of the paper, only to re-emerge a short distance away. The series includes three compositions of heads (see Figure 14.1 ), all of them apparently male, and a lone landscape, the Paysage de Céret , now in the Musée Picasso in Paris (see Figure 14.2 ). However, the other seven works from the
This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.
12 Encounters with genius: Gertrude Stein and Alfred North Whitehead Kate Fullbrook Notoriously, in her Autobiography of Alice B. Toklas (1933), Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead. This remarkable statement, which functions as one of the main structural elements of the text, first appears at the end of the first chapter, in the context of Alice’s initial encounter with the woman who was to become her friend and lover. In typical Steinian
, even the most banal object or image can become art. The second opening the avant-garde makes is onto a space of racialised alterity. This is the space occupied by what Thomas McEvilley once termed the ‘culturally Other’ 10 (the appropriation of African masks, by Picasso, is just one instance); it is unlocked through radical art’s embrace of ‘primitivism
de dés was a recasting of Igitur , in a chain of influences and references that project modernism into a post-Second World War timeline. The final chapter of this section, Lisa Florman’s ‘Behind Picasso’s pins’, turns to Picasso’s use of pins in his papiers collés to illustrate some of the tensions and divisions that not only structure the pasted paper works themselves, but also characterize the field of the visual arts as it existed in France in 1913. By bringing mass-produced industrial objects, the pins, into the representational space, Florman argues
startled musicologist honestly stated a certain dismay, adding even that this music destroyed his psychological balance! Nevertheless, he ended up stating that he could be persuaded to like it. Typically, Huneker resorts to terms such as ‘ugly’ or ‘hideous’ to record the truly new. These were adjectives he also used to report on new paintings by Picasso. Unlike Guillaume Apollinaire, who applauded the new no matter what or by whom, Huneker could be guarded. His cultural taste having been formed in the second half of the nineteenth century, he had a hard time accepting
, Picasso and Sappho, ‘are not characters in the physical sense that we know them on the street or perhaps even in our own lives. They are consciousnesses.’72 This description of the characters as sheer ‘consciousnesses’ existing only in an ‘interior’ world situates Art & Lies on a par with Modernist experiments in stream-ofconsciousness fiction such as the ‘Penelope’ chapter of Ulysses, which is narrated in direct interior monologue. This association, supported by the novel’s subtitle, A Piece for Three Voices and a Bawd, was ratified by Peter Kemp when he wrote that Art
time (the Dantean rose, as opposed to the train, in Art & Lies and Gut Symmetries). Further, while in Oranges and Written on the Body the narrative role relies on a single character, in the later novels this role is shared by two or more characters whose lives are interdependent: by Henri and Villanelle in The Passion; by the Dog Woman, Jordan and their alter egos, the nameless ecologist and Nicolas Jordan in Sexing the Cherry; by Handel, Picasso and Sappho in Art & Lies; by Alice, Stella and Jove in Gut Symmetries; by Ali/x and Tulip in The.PowerBook; and by Silver
ce qui vivant partout et pour tous nous change un peu de l’inquiétude moderne de l’épiderme à toi r d). 22 There were, obviously, great elective affinities in 1913, but also a return of nationalism. From sharing art to suspicious nationalism Since the nineteenth century, a certain number of artists cultivated a profound interest in primitivism and popular art, becoming somewhat like anthropologists dedicated to renewing culture and the arts. This engagement was extremely fertile for such artists as Matisse, 23 Derain, Picasso and others. The Russian painter
herself (p. ). By contrast with Zeuxis, then, the sum of the parts, the five photos and their four reinterpretations, do not make up the perfect whole, the ‘perfect whole’ being Max’s specific idea of Telma. Picasso, an icon of art’s diversity,9 appears to him in a dream (connoting Max’s subconscious), and explains that Telma’s identity is eternalised not through someone else’s unavoidably subjective interpretation, but through Max’s own personal idea of her: Qui mieux que vous pourrait faire ce portrait? Car vous l’avez aimée cette femme, n’est-ce pas? Les photos, c