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Item Details
| Title:
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PICASSO AND THE POLITICS OF VISUAL REPRESENTATION
WAR AND PEACE IN THE ERA OF THE COLD WAR AND SINCE |
| By: |
Jonathan Harris (Editor), Richard Koeck |
| Format: |
Paperback |
| List price:
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£35.00 |
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We currently do not stock this item, please contact the publisher directly for
further information.
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| ISBN 10: |
1846318750 |
| ISBN 13: |
9781846318757 |
| Publisher: |
LIVERPOOL UNIVERSITY PRESS |
| Pub. date: |
15 October, 2013 |
| Series: |
Tate Liverpool Critical Forum v.13 |
| Pages: |
183 |
| Description: |
Picasso and the Politics of Representation reveals another, lesser-known and controversy-ridden side, of the greatest artist of the twentieth century: a commitment after World War Two, in both his art and activism, to the World Communist movement abroad and anti-fascism in his home of Spain. |
| Synopsis: |
This book focuses on the lesser known (and admired) 'political Picasso' of the period after 1944. In the decades after joining the French Communist Party in late 1944 at the end of World War Two, Picasso produced a body of work connected directly, if in complex and varied ways, to his left-wing political beliefs and continued affiliation to a Republican Spain destroyed by General Franco's fascist victory in the Spanish Civil War. The book draws together dynamic scholars from Europe and the USA examining facets of this era and Picasso's place within it in a variety of innovative ways developing art historical, critical and social-theoretical themes.Contributors reconsider, for example, the significance and legacy of Picasso's 1937 Guernica as a talisman of quality and vanguardism for later works by the artist concerned with, for example, the US invasion of Korea in 1950 (Harris, Craven, Lopez), the Cold War atomic and ideological standoff between the West and the USSR (Morris, Wilson), the continuation of struggle against Franco's regime in Spain (Barreiro-Lopez) and connections between the avowedly political and propagandistic works and Picasso's earlier cubist, collage and surrealist periods (Cubitt, Fijalkowski). All authors pose related questions concerned with the significance of Picasso's political works today, and ask how images and personas of the artist have developed and been appropriated by many others with their own distinct political agendas. How might art today be 'political,' or not be capable of being political, in ways and with objectives that Picasso and those in his time in the 1940s, 1950s, 1960s and early 1970s would have recognised? |
| Illustrations: |
24 black & white illustrations, 8 colour illustrations |
| Publication: |
UK |
| Imprint: |
Liverpool University Press |
| Returns: |
Returnable |
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