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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
6 Filming Picasso and Karajan This chapter deviates from the chronological sequence followed hitherto in order to consider the documentary films which Clouzot made with Pablo Picasso and Herbert von Karajan. Le Mystère Picasso was filmed at La Victorine studios in Nice from June to September 1955 and first shown at the Cannes festival in 1956, where it was awarded a special jury prize. Following the popular success of Le Salaire de la peur and Les Diaboliques (and the critical reservations which the second film had attracted), Clouzot was able to afford to undertake
This book charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers – from George Orwell and Pablo Picasso to Joris Ivens and Joan Miró – rallied to support the country's democratically elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War, and the book examines the specific role cinema has played in this process. Its focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century – including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco's censorial dictatorship.
Despite his controversial reputation and international notoriety as a filmmaker, no full-length study of Henri-Georges Clouzot has ever been published in English. This book offers a re-evaluation of Clouzot's achievements, situating his career in the wider context of French cinema and society, and providing detailed and clear analysis of his major films (Le Corbeau, Quai des Orfèvres, Le Salaire de la peur, Les Diaboliques, Le Mystère Picasso). Clouzot's films combine meticulous technical control with sardonic social commentary and the ability to engage and entertain a broad public. Although they are characterised by an all-controlling perfectionism, allied to documentary veracity and a disturbing bleakness of vision, Clouzot is well aware that his knows the art of illusion. His fondness for anatomising social pretence, and the deception, violence and cruelty practised by individuals and institutions, drew him repeatedly to the thriller as a convenient and compelling model for plots and characters, but his source texts and the usual conventions of the genre receive distinctly unconventional treatment.
5 •• How to prescribe a cure for the ills of art Oscar Vázquez The jaundiced patient lies only somewhat conscious of her attendants. To her right, an avuncular older physician testing her pulse; to her left a member of the Sisters of Charity who holds, presumably, the patient’s child while extending a cup of medicinal tea or soup. More than simply a representation of what may have been witnessed in any number of hospitals or homes in the years following cholera and influenza pandemics of the early 1890s, Pablo Ruiz Picasso’s 1897 Ciencia y Caridad (Science and
In La ciudad no es para mí ( The City Is Not for Me ) (Pedro Lazaga, 1966), the decade’s most successful film at the domestic box office, bumpkin Agustín Valverde is aghast on experiencing city living for the first time when he leaves behind his village in rural Aragon to visit his son and grandchildren in Madrid. The alienation of their urban condominium is epitomised by a Picasso print, which Agustín immediately replaces with a family portrait. Accepted as a necessary evil, a residual suspicion of modern(ist) art as corrupt
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
vision uniquely capable of crossing national frontiers and generic borderlines (in an interview included with the UK DVD extras, he claims that it is his ‘most personal’ film). Accepted as a Spanish film in Spain and a Mexican movie in Mexico (hence its eligibility for both Goyas and Ariels), it is in fact a co-production between del Toro’s own Tequila Gang and Picasso Studios, the successful feature-making arm of Spanish