Word: picassos
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Dates: during 1970-1979
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...river in an idyllic field of gold, and rests his feet upon a footstool that depicts a deep green forest. On the ceiling, he sees snake-infested pagodas, grass huts and beguiling maidens. In the kitchen, the refrigerator door opens onto another pastoral scene; the garbage can is early Picasso...
...with a searching deliberateness across the rear-stage curtain. We see the bomber's victims-to-be, other grey-lady puppets. They sway and huddle together in mute terror. We feel their pain all the more acutely because, like wounded animals, they cannot articulate it. Think of Picasso's Guernica unfolding in slow motion and you have the image of these women dying. The evening ends with a jolly blare of music. The Black Angel and the Grey Lady wheel to the music-a Totentanz, the dance of death...
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...
Clarification of individual personalities in the Stein family might have been successful with tapes of 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...
...share the excitement of the Steins' creative vision we must see what they saw in the works, not just look at the works themselves. What we can only share in this show is the enthusiasm of the Paris scene, with Matisse's bright colors and sensual forms and Picasso's unlimited perceptions; we can't help but turn the corners on the Left Bank with the Steins as we go through the Luxembourg Gardens with its marionette shows and young girls basking in the sun or as we pass by windows with prolific flowers to sell or as we smell...