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Les Demoiselles d'Avignon

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Description: Les Demoiselles d'Avignon
Related content: Chapters (6) Images (44)

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Description: Picasso and the Invention of Cubism
In Picasso’s paintings of summer 1910, the figure dissolves into an arrangement of free-floating lines and planes (figs. 42, 43). As Kahnweiler wrote, this was...
PublisherYale University Press
Related print edition pages: pp.49-96
https://doi.org/10.37862/aaeportal.00295.3
Description: Picasso and the Invention of Cubism
Hidden among the geometric planes of Picasso’s summer 1910 painting, Still Life with Glass and Lemon (fig. 12), the attentive viewer will discover a wineglass, a pedestal fruit bowl, and a lemon, resting on a table (fig. 13). The composition recalls numerous still lifes by Cézanne, with their characteristic...
PublisherYale University Press
Related print edition pages: pp.23-47
https://doi.org/10.37862/aaeportal.00295.2
Description: Art of the Actual: Naturalism and Style in Early Third Republic France,...
~Striving away from naturalism to achieve style, abandoning the republican consensus to appeal to an elite, denying the inclusive for the exclusive, was a strategy rather more insecure than is perhaps typically understood. There was an increasing lack of momentum in avant-garde...
PublisherYale University Press
Related print edition pages: pp.275-304
https://doi.org/10.37862/aaeportal.00022.012
Description: The Image of the Black in Western Art, Volume V: The Twentieth Century, Part 1: The...
African art, evolution, racial aesthetics, colonialism, and world fairs were among the common threads that helped to shape the image of the black in France in the first decade of the twentieth century. For...
PublisherHarvard University Press
Related print edition pages: pp.77-98
https://doi.org/10.37862/aaeportal.00145.010
Description: The Language of Twentieth-Century Art: A Conceptual History
There is a large literature on the interpretation of Cubism, much of which invokes philosophers such as Kant, Bergson and Nietzsche. I have explored this literature in ‘Cubism, Kant, and Ideology’, Word and Image, 2: 3, 1987, pp. 195–201. See also Lynn...
PublisherYale University Press
Related print edition pages: pp.32-48
https://doi.org/10.37862/aaeportal.00150.005
Description: Patterns of Intention: On the Historical Explanation of Pictures
ONE IMPLICATION of all this is that, given such odd objects of explanation, the relation of the art historian to historical method is likely to be a Bohemian one. The theory of historical explanation has tended to divide into two camps — the nomological (or nomothetic) and the teleological (or idiographic). On one side the nomological people argue that it is possible, at least in principle, to explain historical human actions within quite strictly causal terms as examples covered by general laws …
PublisherYale University Press
Related print edition pages: pp.12-40
https://doi.org/10.37862/aaeportal.00091.004

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