Immagine dell'autore.

Carsten-Peter Warncke

Autore di Pablo Picasso 1881-1973

26 opere 778 membri 9 recensioni

Sull'Autore

Opere di Carsten-Peter Warncke

Pablo Picasso 1881-1973 (1992) 252 copie
Picasso (25 Spring) (1992) 211 copie
de Stijl (Big Art) (1990) 65 copie
Theatre D'Amour (2004) 49 copie
Picasso (Midsize) (2000) 24 copie
Picasso (2003) 13 copie
Picasso II 9 copie

Etichette

Informazioni generali

Nome canonico
Warncke, Carsten-Peter
Sesso
male
Nazionalità
Germany
Nazione (per mappa)
Germany
Attività lavorative
professor
Organizzazioni
University of Göttingen
Breve biografia
Carsten-Peter Warncke studied art history, classical archaeology, and literature in Vienna, Heidelberg, and Hamburg, and received his doctorate from the latter in 1975. He is professor of art history at the University of Göttingen.

Utenti

Recensioni

Picasso's entire oeuvre from his earliest drawings to the master's very last painting Special bestseller price! ""The definitive introduction to the scope and range of Picasso's work."" The Times, London ""I wanted to be a painter, and I became Picasso,"" declared Pablo Picasso (1881-1973) in an apt survey of a triumphant career. He had good grounds for the confidence palpable in his statement, for in the history of 20th century art, his name stands out over all the others. In Picasso's paintings, drawings, lithographs, ceramics, and sculptures, he was tirelessly inventive and innovative, exhibiting an aesthetic bravado that kept him one step ahead of his contemporaries. From subject matter to new forms and techniques to new media, Picasso got there first. The Spanish artist's enormous output, from the eight-year-old's beginnings to the late work of a man of ninety-one, is surely one of the most diverse and creatively energetic in the whole history of art, and it is no exaggeration to see him as the genius of the century. Carsten-Peter Warncke's study is a thorough review of Picasso's entire oeuvre, from the early Blue and Rose Periods, through the analytic and synthetic cubism and classicist phase all the way up to the art of the old savage Picasso. Our study of Picasso, the most exhaustive record of his work to date, contains almost 1500 illustrations?from his earliest drawings to the master's very last painting. Extensive bibliography section as well as illustrated section about Picasso's life and work Index of Names… (altro)
 
Segnalato
petervanbeveren | 5 altre recensioni | Feb 8, 2021 |

The Fall of Icarus, 1958

Art historian Carsten-Peter Warncke's book on Picasso is an extensive examination of the artist’s work from beginning to end, in seven lively chapters: Picasso the Legend, The Early Years 1890-1901, The Blue and Rose Periods 1901-1906, Cubism 1906-1936, Classicism and Surrealism 1916-1936, War, Art and Politics 1937-1953, The Man and the Myth 1954-1973. Since this is a book review and not a book, I will limit myself to the final chapter, the last phase of the artist’s life and work, Picasso between the ages of 73 and 92, a phase I find particularly absorbing. Below are a number of quotes from the renowned art historian’s The Man and the Myth 1954-1973 along with my comments:

“Picasso’s work from the later 1950s onwards typically drew upon personal material and also worked with constant repetition of his own motifs and compositions.” ---------- The Rape of the Sabine Women is a good case in point. Anybody familiar with Picasso will identify many familiar aspects in this work: the instantly recognizable rendering of the horse, the uplifted, screaming head, the twisted, multi-dimensional head and body of the prone woman. I personally have had several opportunities to view this masterpiece in the Boston Museum of Fine Arts. As with the other pics I’ve included here, a tiny reproduction doesn’t do justice to the actual canvas (195 x 130 cm or about 6 feet high and 4 feet wide). A direct encounter with this Picasso is both astounding and humbling.


The Rape of the Sabine Women, 1963

“Picasso was now scarcely concerned to mirror the outside world. Instead, he took his own work as the center of the creative universe.” ---------- With Claude Drawing, Françoise et Paloma, the exclusive focus of attention for all three - woman, little girl and little boy - is the little boy’s process of drawing on paper. Such a tender rendering, the arm around the little girl, each child given its own rectangle of vivid color, the adult’s supportive presence and eyeing of the paper. And, along with his drawing, Claude has such a calm, inward focus, as if his sketch is an extension of his confidence and tenderness. My sense is Claude can represent Picasso returning to his own youthful vision of what it means to be a creative artist.


Claude Drawing, Françoise et Paloma, 1954

“In the picture done on March 30, 1956, Picasso used a simple but witty device to underline his own creative inventiveness, placing at the center of the studio scene a fresh, virgin canvas awaiting the artist. The pure, white, empty space contrasts with the rest of the picture and is also its prime subject.” ---------- In addition to what Carsten-Peter Warncke notes here, Picasso accomplishes, through a reversal of color, much of what artist Kazimir Malevich accomplished with his Black Square, for example, a painting (the empty white canvas) that isn’t specifically one thing.


The Studio of "La Californie" at Cannes, 1956


Black Square by Kazimir Malevich

“Calling the figure a football player is sleight of hand. The trick is made plausible purely by the painted shirt, shorts and boots. Sculpture such as this is not intended as a mimetic representation of reality; rather, it sets out to play with the basics of visual experience. And deception is the fundamental principle of this art.” ---------- Actually, I see many elements of dance in athletes playing soccer and other sports. With this sculpture, through his visual genius and creative magic, Picasso captures the very essence of fluid movement in an accomplished player on the field.


Football Player, 1961

“The picture within a picture was one of Picasso’s traditional motifs; through it, he grants us access to the very essence of the creative process. Picasso is showing us his power. He can make a world out of nothing.” ---------- A few things I specifically relish in this painting (a huge canvas, thus my 2nd pic here): the curving flourish of the artist’s yellow hat, the stunning beauty of the model captured in her Picasso-like wide Spanish eyes and long black hair and how the intensity of the artist’s gaze is transferred directly to his brush and finally the asymmetrical canvas.



Painter and his model, 1963


“In old age, Picasso transferred to his art the task of expressing the vitality which was ebbing from his life. Hence, for instance, the new graphic works which, when successful, articulated lifelong fascinations in a succinct and impeccably judged manner. All of the etchings are precise records of carefully-observed scenes, using just a few dabs and strokes, quickly but perfectly done.” ---------- For me, such sparse dabbing and stroking brings to mind Chinese brush painting. What is left unpainted speaks with such subtle power.


Los Cabestros Retiran Al Toro Manso, 1957


Bamboo by Gloria Whea-Fun Teng, 2009

“In Picasso’s ouvre we plainly see a rational, logical, consistent method. At core he was an intellectual artist. In a real sense, Picasso transferred ideas into art, and created unified harmonies of idea and artwork, form and content, which are fundamentally traditional in nature and highlights his classical character.” ---------- Call me a radical, but I find Picasso’s Las Meninas more eye-catching. I know, I know . . . I probably wouldn’t think so if I viewed the original Diego Velázquez.


Las Meninas (after Velázquez), 1957


detail of Diego Velázquez's Las Meninas, 1656

“Picasso’s true greatness and significance lie in his dual role as revolutionary and traditionalist at once. He gave a new vitality to art even as he preserved the creative presence (outside the museums) of its history. For this reason he became the pre-eminent figure in 20th-century art.” ---------- Of the many elements of Musketeer with pipe that I adore is how Picasso paints the shoes of the musketeer as if they are shocked, squealing dachshunds, dachshunds who could be the stand-ins for uptight philistines who think they can stand in judgement of his art. Squeal and judge me all you want, you no-talent cretins!


Musketeer with pipe, 1968
… (altro)
 
Segnalato
Glenn_Russell | 2 altre recensioni | Nov 13, 2018 |

The Fall of Icarus, 1958

Art historian Carsten-Peter Warncke's book on Picasso is an extensive examination of the artist’s work from beginning to end, in seven lively chapters: Picasso the Legend, The Early Years 1890-1901, The Blue and Rose Periods 1901-1906, Cubism 1906-1936, Classicism and Surrealism 1916-1936, War, Art and Politics 1937-1953, The Man and the Myth 1954-1973. Since this is a book review and not a book, I will limit myself to the final chapter, the last phase of the artist’s life and work, Picasso between the ages of 73 and 92, a phase I find particularly absorbing. Below are a number of quotes from the renowned art historian’s The Man and the Myth 1954-1973 along with my comments:

“Picasso’s work from the later 1950s onwards typically drew upon personal material and also worked with constant repetition of his own motifs and compositions.” ---------- The Rape of the Sabine Women is a good case in point. Anybody familiar with Picasso will identify many familiar aspects in this work: the instantly recognizable rendering of the horse, the uplifted, screaming head, the twisted, multi-dimensional head and body of the prone woman. I personally have had several opportunities to view this masterpiece in the Boston Museum of Fine Arts. As with the other pics I’ve included here, a tiny reproduction doesn’t do justice to the actual canvas (195 x 130 cm or about 6 feet high and 4 feet wide). A direct encounter with this Picasso is both astounding and humbling.

The Rape of the Sabine Women, 1963

“Picasso was now scarcely concerned to mirror the outside world. Instead, he took his own work as the center of the creative universe.” ---------- With Claude Drawing, Françoise et Paloma, the exclusive focus of attention for all three - woman, little girl and little boy - is the little boy’s process of drawing on paper. Such a tender rendering, the arm around the little girl, each child given its own rectangle of vivid color, the adult’s supportive presence and eyeing of the paper. And, along with his drawing, Claude has such a calm, inward focus, as if his sketch is an extension of his confidence and tenderness. My sense is Claude can represent Picasso returning to his own youthful vision of what it means to be a creative artist.

Claude Drawing, Françoise et Paloma, 1954

“In the picture done on March 30, 1956, Picasso used a simple but witty device to underline his own creative inventiveness, placing at the center of the studio scene a fresh, virgin canvas awaiting the artist. The pure, white, empty space contrasts with the rest of the picture and is also its prime subject.” ---------- In addition to what Carsten-Peter Warncke notes here, Picasso accomplishes, through a reversal of color, much of what artist Kazimir Malevich accomplished with his Black Square, for example, a painting (the empty white canvas) that isn’t specifically one thing.

The Studio of "La Californie" at Cannes, 1956


Black Square by Kazimir Malevich

“Calling the figure a football player is sleight of hand. The trick is made plausible purely by the painted shirt, shorts and boots. Sculpture such as this is not intended as a mimetic representation of reality; rather, it sets out to play with the basics of visual experience. And deception is the fundamental principle of this art.” ---------- Actually, I see many elements of dance in athletes playing soccer and other sports. With this sculpture, through his visual genius and creative magic, Picasso captures the very essence of fluid movement in an accomplished player on the field.

Football Player, 1961

“The picture within a picture was one of Picasso’s traditional motifs; through it, he grants us access to the very essence of the creative process. Picasso is showing us his power. He can make a world out of nothing.” ---------- A few things I specifically relish in this painting (a huge canvas, thus my 2nd pic here): the curving flourish of the artist’s yellow hat, the stunning beauty of the model captured in her Picasso-like wide Spanish eyes and long black hair and how the intensity of the artist’s gaze is transferred directly to his brush and finally the asymmetrical canvas.

Painter and his model, 1963


“In old age, Picasso transferred to his art the task of expressing the vitality which was ebbing from his life. Hence, for instance, the new graphic works which, when successful, articulated lifelong fascinations in a succinct and impeccably judged manner. All of the etchings are precise records of carefully-observed scenes, using just a few dabs and strokes, quickly but perfectly done.” ---------- For me, such sparse dabbing and stroking brings to mind Chinese brush painting. What is left unpainted speaks with such subtle power.

Los Cabestros Retiran Al Toro Manso, 1957


Bamboo by Gloria Whea-Fun Teng, 2009

“In Picasso’s ouvre we plainly see a rational, logical, consistent method. At core he was an intellectual artist. In a real sense, Picasso transferred ideas into art, and created unified harmonies of idea and artwork, form and content, which are fundamentally traditional in nature and highlights his classical character.” ---------- Call me a radical, but I find Picasso’s Las Meninas more eye-catching. I know, I know . . . I probably wouldn’t think so if I viewed the original Diego Velázquez.

Las Meninas (after Velázquez), 1957


detail of Diego Velázquez's Las Meninas, 1656

“Picasso’s true greatness and significance lie in his dual role as revolutionary and traditionalist at once. He gave a new vitality to art even as he preserved the creative presence (outside the museums) of its history. For this reason he became the pre-eminent figure in 20th-century art.” ---------- Of the many elements of Musketeer with pipe that I adore is how Picasso paints the shoes of the musketeer as if they are shocked, squealing dachshunds, dachshunds who could be the stand-ins for uptight philistines who think they can stand in judgement of his art. Squeal and judge me all you want, you no-talent cretins!

Musketeer with pipe, 1968
… (altro)
 
Segnalato
GlennRussell | 2 altre recensioni | Feb 16, 2017 |
--
Warncke, Carsten-Peter. Pablo Picasso : 1881-1973 / Carsten-Peter Warncke ; edición a cargo de Ingo F. Walther ; [traducción, Pedro Guillermet]. -- Köln [etc.] : Taschen, cop. 1997. -- 740 p. : il. col. y n. ; 31 cm. -- "La presente obra fue publicada originalmente en 2 volúmenes". -- Índices. -- Bibliografía: p. 733-738. -- ISBN 3-8228-8012-4. -- Contiene: Primera parte: Obras 1890-1936 -- Segunda parte: Obras 1937-1973

I. Walther, Ingo F., ed. lit. II. Guillermet, Pedro R., trad. III. Título. 1. Picasso, Pablo (1881-1973).

75Picasso, Pablo
929Picasso, Pablo
… (altro)
 
Segnalato
Biblioteca-LPAeHijos | 5 altre recensioni | Nov 15, 2013 |

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Statistiche

Opere
26
Utenti
778
Popolarità
#32,714
Voto
½ 4.3
Recensioni
9
ISBN
79
Lingue
10

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