ISBN9780300220483:p0001-01

Image details

TitleDaniel-Henry Kahnweiler

Creator namePicasso, Pablo

Creator nationality/cultureSpanish

Creator rolePainter

Creation date1910

Creation date (description)Fall 1910

Object typePainting

MaterialsOil on canvas

Dimensions39 1/2 x 28 1/2 in. (100.4 x 72.4 cm)

LocationArt Institute of Chicago

http://www.artic.edu/aic/collections/artwork/111060

Accession number1948.561

SubjectsPainting, Spanish--20th centuryArt dealersCubismPortrait painting, Spanish

Related content: Chapters (3) Images (53)

Select a chapter below to view this image within the text.

5. The Portrait in Pieces: Cubism’s Corpus

Tamar Garb

The Painted Face: Portraits of Women in France, 1814–1914

~~‘I LOVE [EVA] VERY MUCH AND I WILL WRITE THIS in my paintings’, Pablo Picasso wrote in a letter to his dealer Daniel...

Author

Tamar Garb

PublisherYale University Press

Related print edition pages: pp.181-209

https://doi.org/10.37862/aaeportal.00298.5

Stable URL: https://aaeportal.com/?id=-22349&redirecttoanchor=4227

Chapter subject tags:CubismWomen--PortraitsPainting, AbstractStein, Gertrude, 1874-1946

1. Ideas

Pepe Karmel

Picasso and the Invention of Cubism

In spring 1912 a journalist visited Picasso’s dealer, Daniel-Henry Kahnweiler. Kahnweiler’s first impulse was to send him away. He did not want his artists held up to mockery in the popular press. The journalist, Jacques de Gachons, persisted. He was writing an article about “The Art of the Future.” It would begin with Cézanne, Gauguin, and Van Gogh and follow the...

Author

Pepe Karmel

PublisherYale University Press

Related print edition pages: pp.1-21

https://doi.org/10.37862/aaeportal.00295.1

Stable URL: https://aaeportal.com/?id=-22276&redirecttoanchor=4227

Chapter subject tags:CubismAvant-garde (Aesthetics)Braque, Georges, 1882-1963Kahnweiler, Daniel Henry, 1884-1979EmpiricismPost-impressionism (Art)Symbolism

Introduction: Language and Explanation

Michael Baxandall

Patterns of Intention: On the Historical Explanation of Pictures

WE DO not explain pictures: we explain remarks about pictures — or rather, we explain pictures only in so far as we have considered then under some verbal description or specification. For instance, if I think or say about Piero della Francesca’s Baptism of Christ (fig. 1) something quite primitive like ‘The firm design of this picture is partly due to Piero della Francesca’s recent training in Florence’, I am first proposing ‘firm design’ as a description of one aspect of the …

Author

Michael Baxandall

PublisherYale University Press

Related print edition pages: pp.1-11

https://doi.org/10.37862/aaeportal.00091.003

Stable URL: https://aaeportal.com/?id=-13415&redirecttoanchor=4227

Chapter subject tags:Art criticismArt and philosophyDescription (Rhetoric) in artExplanation (Linguistics)Design

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