Word: picassos
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Dates: during 1970-1979
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...Rothschilds' and most of the Rockefellers. A musical version of her life, enhanced by Katharine Hepburn but stripped of most of the real drama, put Coco on Broadway. She was on a first-name basis with people too famous to need first names: Cocteau, Colette, Diaghilev, Dali, Picasso. Yet at the time of her death, the woman Picasso termed "the most sensible m the world" had a Paris wardrobe consisting of only three outfits...
...recounts with hostility how she worked for a whole year on a ballet by a young colleague set to Berlioz's Romeo et Juliette-only to have it turned down by the officials because it was "too openly erotic." Another ballet based on a picture by Picasso was also vetoed. Makarova quarreled with the grande doyenne of the Kirov Ballet, Madame Natalia Dudin-skaya, because she "preferred to try and impose her own rather stereotyped interpretation of each part." In spite of these disputes, she concedes: "I was at the top. I had danced all the leading roles...
...show in Los Angeles was organized by Art Historian Douglas Cooper, a major collector and close friend of Picasso, Braque and Leger. The movement, he argues, aimed to restore reality to art, to discover a way of representing "the solid tangible reality" of things. This sense of reality and tangibility, says Cooper, had been lost to French painting in the late 19th century, amid the theorizing of the Symbolists and the opalescent shimmers of Impressionism. In classical art the aim is to represent a real world: but in this trompe-l'oeil reality, the thing which is not real...
Buckled Planes. Thus, with incredible bravado, Picasso and Braque (neither had yet turned 30) set out to displace a history of visual representation that had lasted more than 500 years. Every element of art had to be rethought in terms of a new function-line, color, light, volume, space. Thus the solidity of the rocks, lighthouse and boats in Braque's Harbor in Normandy, 1909, is not achieved through light-and-shade modeling, still less by perspective; instead, each form begins to buckle into planes and projections, and every shape is evenly compressed against the eye. Even space, which...
Although Cubism had an immense latter-day effect on abstract painting, it was not abstraction, nor did it want to be. Even in Picasso's Still Life, 1912, which must have struck its first viewers as an incomprehensible assemblage of planes and lines, the viewer's eye is drawn deep into reality-captured first by the fragments of newsprint, then finding the stem and bowl of a glass, the-edge of a table, the curve of a pipe...