Picasso: Life and Art

By Pierre Daix; Olivia Emmet | Go to book overview

20
RENEWAL OF SURREALISM
1929-1930

At the end of 1928 it was clear that Picasso's return to sculpture had been good for him. In his emotional life he had reached a kind of balance—a landing on the staircase. A great deal was now being written about him. There was Wilhelm Uhde's book, Picasso et la tradition française, as well as Picasso by André Level, another old friend from before the war. Level's book includes a lithograph of Visage, Marie-Thérèse's face—a highly provocative gesture. In l'Intransigeant of 26 November, Tériade describes a "Visit to Picasso." The artist, showing his guest some wire sculptures and his sketchbook for Métamorphoses, declares that he has never done a painting or drawing which does not reproduce exactly a vision of the world. "I would like, someday, to show my synthetic drawings beside the same subjects done classically. Then you would see my concern for precision."

Kahnweiler deeply regretted that he had sold nothing: the Depression was already taking its toll. But, as he said, "Picasso can wait." His young sister-in-law, Louise Leiris, was running the gallery. Michel, her poethusband, together with Georges Bataille, had begun a new review: Documents. The magazine would run an article on Alberto Giacometti, a newcomer to sculpture, whose Homme et femme, in its violence and abstraction, could have come from Picasso's sketchbook. A special issue of the magazine devoted to Picasso would be published in April 1930, following by exactly a month Aragon's praise of Picasso in la Peinture au défi (Painting as Defiance). In addition, the fecundity of Max Ernst and the innovations of Miró and André Masson had re-created a climate of discussion and novelty of a kind Picasso had not encountered since 1914. When confronted by new questions on the meaning of art, he surpassed himself. At such times he was at his most daring, going to the greatest lengths in what might be called his personal Surrealism.

Picasso was not trying to give form to the unconscious of dreams or fantasies—yet another category of subjects "external" to painting. What Picasso drew from Surrealist ideas was the liberty they gave to painting to express its own impulses, its capacity to transmute reality; its poetic. Which

-211-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
Picasso: Life and Art
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 450

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.