<ul>
<li>Examines Pablo Picasso's use of both Cubist and classical styles in his art during the tumultuous years of World War I</li>
<li>Accompanies a major exhibition opening at the Barnes Foundation (February 21 to May 9, 2016) and the Columbus Museum of Art (June 10 to September 11, 2016)</li>
<li>Features new scholarship from leading experts from around the world</li>
<li>Includes images and discussion of costumes by Picasso for the ballet Parade (1917), and photographs by Jean Cocteau showing the artist and friends in Paris (1916)</li>
</ul>
Picasso: The Great War, Experimentation, and Change examines the work that Pablo Picasso made in Paris during the tumultuous years of World War I. Focusing on Picasso's oeuvre from 1912 to 1924, when he utilised both Cubist and classical modes in his art, this fully illustrated catalogue highlights one of the most important periods in the history of modern art. Picasso's shifts in style became a means of not repeating, in his words, 'the same vision, the same technique, the same formula.' With that approach in mind, the book also includes the work of Picasso's peers and friends, artists who were also exploring themes relevant to the difficult times in which they lived. Published to accompany a major exhibition of the same name at the Barnes Foundation and the Columbus Museum of Art, this elegantly designed book is essential reading for all those interested in Picasso's work and the dramatic and innovative period of art history during the Great War.

Picasso: The Great War, Experimentation, and Change

Arts & Photography

Cowling, Elizabeth

Silver, Kenneth

Fraquelli, Simonetta

Vasseur, Dominique H.

Bremner, Ann

History & Criticism

Scala Arts Publishers, Inc.

Though his paintings of Russian village life, floating figures, flying cows, and roosters are instantly familiar, Marc Chagall (1887–1985) remains one of the least understood artists of his generation. Bringing together more than 60 paintings and a selection of works on paper, this lavishly illustrated book focuses on the artist’s time in Paris before World War I, his visit to Berlin and his exhibition there in 1914, and the years he spent in his native Russia around the time of the Revolution in 1917, all experiences that reinforced his highly personal visual language. The timeless themes of these early works—including love, suffering, and death—formed the core of his art for the remainder of his long career. Although Chagall promoted an image of himself as a loner and intuitive genius, in reality he was acutely aware of avant-garde artistic developments. This book, which accompanies a major international exhibition, demonstrates Chagall’s shift from “naive” folkloristic narratives toward an integration of Fauve, Cubist, Expressionist, and Suprematist styles, through which he articulated his native Jewish Russian culture.

Chagall: Modern Master (Tate Gallery, Liverpool: Exhibition Catalogues)

Bohm-Duchen, Monica

Lampe, Angela

Tate Publishing

Gino Severini's first solo exhibition took place in London's Marlborough Gallery in 1913. Its reception ranged from adulation among the cognoscenti to bewildered reactions from the popular press. Though his paintings were shown in the context of Futurist group exhibitions or thematic shows of twentieth-century Italian art, there was never a museum exhibition in Britain devoted solely to his work. Gino Severini: From Futurism to Classicism, part of the National Touring Exhibitions program of the Hayward Gallery, aims to redress this situation. The exhibition and the lavishly illustrated book that accompanies it bring into focus the essence of Gino Severini's highly distinctive talent, and the contribution he has made to modern art. Gino Severini concentrates on the most significant decade of the artist's career: the years from 1910 until 1920. It follows the development of his art from his Futurist works of the early 1910s, with their rejection of the past and their emphasis on dynamism and the modern world, to his adoption of a Synthetic Cubist style during the war years and finally to the timeless and mathematically composed still lifes and figures he painted from 1919 onwards. Reflected in a broad range of contemporary themes from war to dancers, Severini's stance during a decade of political and artistic upheaval--made especially distinctive by the move from his native Italy to Paris--is exceptional. His development is a fascinating parallel to the directions taken by his Paris contemporaries including Picasso, Gris and Metzinger. This fully-illustrated book includes insightful essays by Simonetta Fraquelli, curator, and Christopher Green, History of Art Professor at the Courtauld Institute of Art.

Gino Severini: From Futurism to Classicism

GREEN, Christopher

University of California Press

RADICAL LIGHT Italy's Divisionist Painters 1891 - 1910

Greene, Vivien

Ginex, Giovanna

Tosini, Auora Scotti

Yale University Press

This thought-provoking book presents a lively introduction to the 20th century's most important artist, Pablo Picasso. Picasso was a passionate student of the European painting tradition, and his memory for images was voracious. Naturally drawn to Spanish masters Velázquez and Goya, he also engaged with such figures as Rembrandt, Delacroix, Ingres, Manet, and Cézanne. Picasso repeatedly pitted himself against these masters, taking up their signature themes, techniques, and artistic concerns in audacious paintings of his own. Sometimes his "quotations" were direct, other times highly allusive. Always, Picasso made the implicit case that it was he in the 20th century who most forcefully reinvigorated the European tradition. This book showcases his extraordinary work, where we witness the daring transformation of the art of the past into, in Picasso's own words, "something else entirely."

Picasso: Challenging the Past

Riopelle, Christopher

Robbins, Anne

Galassi, Susan Grace

Cox, Neil

National Gallery London

From his earliest years Pablo Picasso was a passionate student of the European painting tradition. He was naturally drawn to the Spanish masters Velázquez and Goya, but such figures as Rembrandt, Delacroix, Ingres, Manet, and Cézanne were also important artistic heroes. Picasso repeatedly pitted himself against these masters, taking up their signature themes, techniques, and artistic concerns in audacious paintings of his own. Sometimes his “quotations” were direct, other times highly allusive. Always Picasso made the implicit case that it was he in the 20th century who most forcefully reinvigorated the European tradition. 
Liberally illustrated with 150 full-color plates of works by Picasso and those who inspired him, the book showcases the technical dexterity, independence, and vitality of Picasso’s creative processes as he daringly transformed the art of the past into, as he described it, “something else entirely."

Reference

Modigliani: A Painter and His Art Dealer

Senot, Marie-Amélie

Biro, Yaëlle

Girardeau, Cécile

Humor & Entertainment

Flammarion

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