Word: cubist
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...Leading a Horse (10), "makes the official guardians of the 'Greek' traditions such as Ingres ... seem vulgar or pallid." Rather, the Blue and Pink periods contain the most accessible images Picasso ever produced-sensitive, mannered and drenched in pathos. Those who have problems decoding the intricate Cubist structure of a 1912 still life have none with the consumptive laundresses, wistful acrobats and delicately shaded cripples who populate Picasso's canvases between 1902 and 1906. On one level, they record his experience of the miserable and dehumanizing poverty that lay around him in Paris and Barcelona; on another...
Jubilant Shout. Schwitters did not invent collage as a medium-Braque and Picasso were ahead of him. But when he began making his first assembled images in 1918, he managed to shift the function and look of collage far from its cubist origins. He rummaged through the trash cans of his native Hannover the way an archaeologist might pick over a buried midden heap, on the sound theory that a culture reveals itself in what it throws away. Schwitters was the first to make poetry of this fact, calling his collages "Merz-pictures." The word came from a fragment...
...parties are all right if you find one person and talk to him. Cocktail parties are all right if you find one painting and look at it. But why bother bringing paintings or people together? Do we put the Stein collection together only to look individually at Picasso's Cubist landmarks: his famous 1906 portrait of Gertrude or his Student with a Pipe...
...Gertrude or Leo reading from their writings about particular artists. Picasso's work might be better understood if Gertrude were saying: "This one was working and something was coming then, something was coming out of this one then..." Or if an African mask were adjacent to Gertrude's Cubist-like portrait, or if Leo were expressing his excitement over Cezanne when he had really gone to Italy to study Italian painters: Mantegna for Leo was "a sort of Cezanne precursor with the color running all through...
...went on in his paintings was solely designed to clarify these clashings and peakings of force and substance, to turn it all into paint-"paint wave a'breaking on paint shore." He had instinctively hit upon the same vision of nature that produced the interlocking solidity of Cubist space, but he applied it to landscape in a fluid and dynamic way that bore very little relation or debt to the School of Paris...