page 21 |
Save page Remove page | Previous | 23 of 44 | Next |
|
|
small (250x250 max)
medium (500x500 max)
Large
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
Loading content ...
CUBISM top left, the fan becomes transparent, merging with the table (and becoming in the final analysis, as all the other forms, the richly varied painted surface of the canvas). Below that area this particular view of the fan is interrupted by another open fan form, superimposed on the first. The left and top edges of this second form are traced with broken lines; the right edge is left continuous, since it delineates both views. This dual reference is characteristic of the cubist idiom, wherein a single line or edge often belongs to two different aspects of the same form, as well as characterizing edges of two different forms. The line describing the lowest right stick of the fan also defines the boundary of the next group of planes and volumes, extending across from the fan to the foot of the glass (fig. 8). The point of departure here appears to have been a book, again several aspects being welded into a unified image. The wide tracings convey selected views of a partially opened book, the curved form on the bottom suggests the base of the spine, and the lines going out from it left and right, the binding. The outer edges of the book are fairly continuous; the central and top sections are broken by sharplv edged forms associated with pages. The narrow and broken lines are related to other views of the book and pages, as well as being repetitions, extensions, and inventions as analyzed in the study of the glass. The identification proposed here of the object as a book may seem more valid and understandable if one looks at Picasso's drawing, Book, reproduced (fig. 9), and if one imagines the artist's deliberate selection of certain planes and lines (all straight except for the curve of the spine)." Multiple views and slight shifting in position of book sections helped Picasso create in the painting a complex organization of forms, any one of which moves easily from angular to semi-circular, from stereometric to flat, from opaque to transparent, and from cylindric to cubic. This form activity and ambiguity are interwoven with a space activity and ambiguity so that any single solid or plane is located in some places in front of and in others behind neighboring ones.1' The spiral form on the top left is the last for which a possible iden- 14 Although this drawing, dated 1915 by Zervos, op. cit., II, 872, is considerably later than the Oberlin painting, its inclusion is intended only to clarify the relationship to book, not the difference between analytic and synthetic cubism, which interesting question is irrelevant to this essay. Our illustration is from Zervos. 13 Compare another Picasso of the same date as The Glass of Absinthe, spring 1911, called Palette, Brushes, Book by Victor Hugo, reproduced Zervos, op. cit., II, 260. In this work Picasso's analysis of the book is no doubt more immediately recognizable, although possibly less refined than in the Oberlin painting. 21
Object Description
Title | Allen Memorial Art Museum bulletin. |
Description | volume 13, number 1 |
Alternate Title | Bulletin of the Allen Memorial Art Museum of Oberlin College |
Creator | Allen Memorial Art Museum |
Subject | Museum exhibits -- Ohio -- Oberlin |
Museum Director/Acting Director | Parkhurst, Charles |
Contributors |
Capps, Edward, Jr., 1902-1969 Johnson, Ellen H. |
Contents | Foreword; A Red-Figured Pitcher by Douris; On the Role of the Object in Analytic Cubism; Announcements; Loans to Museums and Institutions; Catalogue of Recent Additions; Museum Calendar, Winter 1955-56; Friends of the Museum |
Artists | Picasso, Pablo (Spanish, 1881-1973) |
List of Illustrations | Douris, Red Figured Pitcher, side. Oberlin; Douris, Red-Figured Pitcher, front. Oberlin;Douris, Red-Figured Pitcher, detail. Oberlin;Picasso, The Glass of Absinthe. Oberlin;Picasso, The Glass of Absinthe (detail);Picasso, Glass of Absinthe. Philadelphia Museum of Art Gallatin Collection;[tracing of Picasso, Glass and Jar]; Picasso, Glass and Jar. Hermitage, Leningrad; [tracing of the table];[tracing of the fan];[tracings of the compostion]; Picasso, Book; [tracing of the scroll of the violin];Picasso, The Violin. Philadelphia Museum of Art, Gallatin Collection. |
Month/Season | Fall |
Year | 1955 |
Type | Journal |
Format | text; image |
Publisher | Oberlin College. Library |
Language | English |
Relation | http://obis.oberlin.edu/record=b1749012~S4 |
Rights | For research and educational use only. For all other uses please contact Allen Memorial Art Museum |
Description
Title | page 21 |
Transcript | CUBISM top left, the fan becomes transparent, merging with the table (and becoming in the final analysis, as all the other forms, the richly varied painted surface of the canvas). Below that area this particular view of the fan is interrupted by another open fan form, superimposed on the first. The left and top edges of this second form are traced with broken lines; the right edge is left continuous, since it delineates both views. This dual reference is characteristic of the cubist idiom, wherein a single line or edge often belongs to two different aspects of the same form, as well as characterizing edges of two different forms. The line describing the lowest right stick of the fan also defines the boundary of the next group of planes and volumes, extending across from the fan to the foot of the glass (fig. 8). The point of departure here appears to have been a book, again several aspects being welded into a unified image. The wide tracings convey selected views of a partially opened book, the curved form on the bottom suggests the base of the spine, and the lines going out from it left and right, the binding. The outer edges of the book are fairly continuous; the central and top sections are broken by sharplv edged forms associated with pages. The narrow and broken lines are related to other views of the book and pages, as well as being repetitions, extensions, and inventions as analyzed in the study of the glass. The identification proposed here of the object as a book may seem more valid and understandable if one looks at Picasso's drawing, Book, reproduced (fig. 9), and if one imagines the artist's deliberate selection of certain planes and lines (all straight except for the curve of the spine)." Multiple views and slight shifting in position of book sections helped Picasso create in the painting a complex organization of forms, any one of which moves easily from angular to semi-circular, from stereometric to flat, from opaque to transparent, and from cylindric to cubic. This form activity and ambiguity are interwoven with a space activity and ambiguity so that any single solid or plane is located in some places in front of and in others behind neighboring ones.1' The spiral form on the top left is the last for which a possible iden- 14 Although this drawing, dated 1915 by Zervos, op. cit., II, 872, is considerably later than the Oberlin painting, its inclusion is intended only to clarify the relationship to book, not the difference between analytic and synthetic cubism, which interesting question is irrelevant to this essay. Our illustration is from Zervos. 13 Compare another Picasso of the same date as The Glass of Absinthe, spring 1911, called Palette, Brushes, Book by Victor Hugo, reproduced Zervos, op. cit., II, 260. In this work Picasso's analysis of the book is no doubt more immediately recognizable, although possibly less refined than in the Oberlin painting. 21 |
Identifier | AMAM_Bulletin_013_001_0023.tif |
Rights | For research and educational use only. For all other uses please contact Allen Memorial Art Museum |
Tags
Comments
Post a Comment for page 21