Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue


Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

January 15, 1958 - Image 16

Resource type:

Disclaimer: Computer generated plain text may have errors. Read more about this.

Page Sixteen


Wednesdan Jniirv 1; 8 S

Page Sixteen~THE MICHIlANyrAIl _.1LGA.II7


Picasso: prolific and various,
figure and the mandolin to geo-
metric forms-not all cubes-de-
pendent upon the muted colors for
emphasis. The decades of con-
tinuous experiment since 1910
make "Girl with Mandolin" seem
restrained and dignified and, in
its familiarity, even classic:
"Cubism has long since been
left behind, and already it
seems to be a final episode in
the dislocation of a traditional
way of seeing, not as the start-
ing point for a new art. . . .
Cubism it was that accus-
tomed us to the idea that the -
objects around us were not
there because of some un-
changing decree of providence
but were the artifacts, the
transformable products of civ-
ilization." (Pierre Francastel:
Yale French Studies, Nos. 19
& 20.)
Great Cubist paintings were to
" come: the portraits, "Wilhelm
aUhde" and "D. H. Kahnweiler,"
for example, in which nature was
.g lessand less conventionally visible,
or perhaps another level of it only
more visible. Piscasso made many
collages -the superb "Still Life
- =swith Chair Caning" (1911-12) is
outstanding-of rope and calling
cards, tobacco stamps, and wall-
paper made to resemble wood, giv-
ing perhaps a level of reality to
what was intended as fake or as
junk. The collage technique per-
Using canvas, string, pasted sisted: nails - or screw driver
paper, oil paint, cloth, and two- points-were poked through the
inch nails, Picasso made "Gui- canvas and laid-on burlap and
tar" (left) in 1926, some years called "Mandolin" in 1926. Dis-
after he made most of his col- carded objects themselves were
lages. It is in the artist's own apparently discarded in a new
collection. context of dislocation, and "Le
"Bather Playing Ball," (right) Journal" became incidentally the
painted in 193?, illustrates most famous newspaper in art
something of Picasso's experi- history,
ments with both line and sur- ,But Picasso never left the recog-
realism. It, too, is in the artist's nizable, the human figure, for
collection. Both photographs long. The "Ambroise Vollard"
courtesy the Museum of Modern (1915) pencil portrait is as much
finished as any work he ever made,
Art. _________itone that has an Ingres-like qual-
ity. Impresarios and ballerinas he
(Continued from Pare ) drew, "Two Peasants," a "Fisher-
IRL with Mandolin" (1910), man" and "Bathers" in 1918-1919.
with its muted browns and The last two drawings are so deli-
greys, has been called "analytical ate that they must be specially
Fina 9s c losing in .. . Felt low . . . No cubism," the reduction of the treated duri b en and coarsen the
member not long ago hearing line, else they would not appear in
Picasso and Gertrude Stein ordinary reproduction.
sleep ... 5 AM .: lights out . .. 11 A.V.: talking about various things The summer of 1921 Picasso
that had happened at that Ts eronta 921 Pis g
time, one of them said but all spent at eontinbles, summing
that could not have happened Cubism. The
Divine inspiration : get new skirt from in that one year, oh said the two large canvases, shown side by
iothatoneearyouoadt h e side, of "Three Musicians," he
other, my dear you forget we painted simultaneously that sum-
12 Noon: pur were young then and we did mer In eah rethree figures at
(VIO1UCor M dep r- a great deal in a year.' (Ger- a tablech arequtnemonkg ands
trude Stein: The Autobio- p e,:hrein thngar-
graphy Tereof Alice B Toka'.) ie~lrot"Tereis nothing par-
ticularly new about these two
chase at fabulous sole!! - ----- ----great paintings. Their style de-
scends from the cubist harlequins
of the prveious six years. . . . The
2 P.M. took exam ... 5 P.M.: Ran "Three Musicians" are, rather,
the authoritative and magnificent
summing up of a style and a
SSHIRTS period." (Alfred H. Barr: Picasso:
back to for matchingl sh ed Fifty Years of His Art.)
De i- iise
Individually THE MONUMENTAL "classical"
sweater!!! ..Looksas great as1.feel Packaged in canvases-both in size and
Polyethylene treatment-that follow the cubist
period seem to be final statements
. . . Here's a tip: from now on you of the parallel expression Picasso
" was recording in his drawings and
Egraphics. The exhibit included
s d t"The Pipes of Pan," a large 1923
shoul goto. .canvas owned by the artist. Seen
in reproductions, even the best,
the figures are dignified and solid,
(Continued on Next Page)

1212 South University Campus Theatre Building * FOOD AT ITS BEST
We welcome J-HOP guests

Back to Top

© 2021 Regents of the University of Michigan