000			03107cam a2200409 i 4500
001			9949875593804341
003			OSt
005			20250113134440.0
008			121001s2013 njua b 001 0 eng
010			_a 2012039423
016	7		_a016269818 _2Uk
020			_a9780691157412
020			_a0691157413
024	8		_a40022473332
035			_a(OCoLC)ocn812018056
035			_a(OCoLC)812018056
035			_a(StEdNL)4987559-nlsdb-Voyager
040			_aDLC _beng _erda _cDLC _dYDX _dOCLCO _dBTCTA _dYDXCP _dBDX _dERASA _dUKMGB _dTJC _dPUL _dZCU _dCDX _dBWX _dOCLCQ _dCHVBK _dSTF _dDEBBG _dGK8 _dXII _dVP@ _dCOO _dOCLCA _dYUS _dCGP _dNLE
042			_apcc
100	1		_aClark, T. J. _q(Timothy J.) _922009
245	1	0	_aPicasso and truth : _bfrom Cubism to Guernica / _cT.J. Clark.
264		1	_aPrinceton, New Jersey : _bPrinceton University Press, _c[2013]
300			_a329 pages : _billustrations (some color) ; _c27 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	1		_aThe A.W. Mellon lectures in the fine arts ; _v2009
490	1		_aBollingen series ; _vXXXV: 58
504			_aIncludes bibliographical references and index.
505	0		_aObject ; Room ; Window ; Monster ; Monument ; Mural.
520			_aPicasso and Truth offers a breathtaking and original new look at the most significant artist of the modern era. From Pablo Picasso's early The Blue Room to the later Guernica, eminent art historian T. J. Clark offers a striking reassessment of the artist's paintings from the 1920s and 1930s. Why was the space of a room so basic to Picasso's worldview? And what happened to his art when he began to feel that room-space become too confined--too little exposed to the catastrophes of the twentieth century? Clark explores the role of space and the interior, and the battle between intimacy and monstrosity, in Picasso's art. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this lavishly illustrated volume remedies the biographical and idolatrous tendencies of most studies on Picasso, reasserting the structure and substance of the artist's work. With compelling insight, Clark focuses on three central works--the large-scale Guitar and Mandolin on a Table (1924), The Three Dancers (1925), and The Painter and His Model (1927)--and explores Picasso's answer to Nietzsche's belief that the age-old commitment to truth was imploding in modern European culture. Masterful in its historical contextualization, Picasso and Truth rescues Picasso from the celebrity culture that trivializes his accomplishments and returns us to the tragic vision of his art--humane and appalling, naïve and difficult, in mourning for a lost nineteenth century, yet utterly exposed to the hell of Europe between the wars.
600	1	0	_aPicasso, Pablo, _d1881-1973 _xCriticism and interpretation. _925276
600	1	7	_aPicasso, Pablo, _d1881-1973. _2gnd _923429
830		0	_aA.W. Mellon lectures in the fine arts ; _v2009. _99618
830		0	_aBollingen series ; _v35:58. _96646
942			_2ddc _cBOOK
999			_c18795 _d18795