The transformation of the everyday into art is of course at the base of the understanding of the Duchamp’s readymades yet in Picasso’s production we witness a greater respect for the resources, the found objects, and the playful game of associations. In a similar way that Picasso approached the incorporation of everyday objects in his collages, his sculpture showcases the rule that anything goes and can be used and the breaking from the traditional materials and definition of the medium. Showcasing his interest for space and found materials, Picasso’s approach is seen as influential for the understanding of the history of junk art, and the combines of the famous American painter Robert Rauschenberg. This is evident in his famous work Guitar, a three-dimensional object made out of strings, cardboard, and paper. Early on Picasso turned away from the traditional art of modeling favoring the idea of assemblage and construction. The famous bronze head portrait of Fernande Olivier, simply titled Head of a Woman, with its suggestion of various perspectives, and strong volume of mass is seen as influential for the shift in Picasso’s approach to the painting and his major ideas about cubism style.
His three-dimensional production was for some even seen as the starting point for the major ideas of the Cubism movement. Image via Pablo Picasso and the Love for SculptureĪt some of the crucial moments of his long lasting career, Picasso turned from two-dimensional experiments in order to explore the relationship between the space and the object and to use the gained knowledge to push the borders of the traditional understanding of what art is. Playing and breaking the rules was what Picasso was all about and we now invite you into the story of his three-dimensional journey and some of its best examples in order to showcase how this creative mind overturned every rule and contributed to the understanding of the present term - modern sculpture. One such example is found in Chicago and is for sure a proud landmark of this city. This playfulness followed Picasso until the end, and some of the most famous examples of his later developments in sculpture became most memorable pieces of present public sculpture. Recognized as the inventor of the assemblage sculpture, this side of his production Picasso kept to himself until the late 1960’s when the public was made aware of his love for metal, wood, plaster, ceramics, and any everyday object which surrounded him in the occupied Paris during the war and which the painter cast in bronze. It is here that the famous painter lacked any formal training, which he started early on for painting and drawing, yet this did not stop him. Most famous for his painting production, Picasso’s experimental mind quite possibly found the most freedom and playful expression in his sculptures.
Known as the father of Cubism movement, this brilliant and often brutal man, created and dominated across an array of art disciplines and mediums. It was Pablo Picasso sculpture which inspired the famous Vladimir Tatlin to coin a revolutionary art movement in Russia, his collages to inspire the term mixed media, and his collaboration with Georges Braque produced one of the most fruitful avant-garde movements of the early 20th-century. I hope the irony of this attack on the arts should be self-evident.One cannot deny or ignore the importance Pablo Picasso had for the development of art and what we today see as the most important and influential shifts in its history. Silverstein demonstrates the positive reaction the students had to their visit at a time in which such programs are being cut back in order to expand "critical thinking" in other disciplines. Moreover, by using the arts as a medium of instruction for critical thinking, Ms. I found the methods used by Ms Silverstein an example of "active learning" which I would only hope is being used as an effective learning approach in many other schools. Not incidentally, the students were well-behaved, engaged and very responsive to what they saw. This is followed by student responses to their experience at the exhibition. The guest author of this blog, Sasha Silverstein, an art teacher at PS 302-303, in New York City, wrote the following description of the lesson she gave to these young learners prior to their visit to the Museum. There is so much bad news about education these days that I decided to post a positive story about a class of students, most all minority, whom I observed at the Picasso sculpture exhibit at MOMA several weeks ago.
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