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Picasso, Braque, Léger, and the Cubist spirit, 1919-1939

Author: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
Publisher: Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
This volume presents art and design in France during the years between the two World Wars, in an effort to dispel the perception that Cubism was only a pre-World War I phenomenon. After the war, Cubist painting became more varied, colorful, and accessible, and began to affect other media such as furniture, fashion, cinema and architecture. What had begun as a rarefied pictorial style became a popular language. The  Read more...
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Genre/Form: Exhibition catalogs
Exhibitions
Exposiciones
Additional Physical Format: Online version:
Wayne, Kenneth.
Picasso, Braque, Léger, and the Cubist spirit, 1919-1939.
Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996
(OCoLC)605294603
Named Person: Pablo Picasso; Georges Braque; Fernand Léger
Document Type: Book
All Authors / Contributors: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
ISBN: 0916857085 9780916857080
OCLC Number: 35549188
Notes: Catalog of an exhibition held at the Portland Museum of Art, Maine, June 29-October 20, 1996.
Description: 64 pages : illustrations (some color) ; 28 cm
Contents: Picasso's guiding spirit --
Late cubism(s) --
Cubism and modern French design --
Exhibition checklist --
Chronology --
Lenders to the exhibition.
Responsibility: Kenneth Wayne, with an essay by Christopher Green.

Abstract:

This volume presents art and design in France during the years between the two World Wars, in an effort to dispel the perception that Cubism was only a pre-World War I phenomenon. After the war, Cubist painting became more varied, colorful, and accessible, and began to affect other media such as furniture, fashion, cinema and architecture. What had begun as a rarefied pictorial style became a popular language. The first essay addresses Picasso's abundant and varied cubist painting. The second essay treats the art of three major Cubists -- Picasso, Braque, and Leger -- in the context of the various cubist idioms that developed. The third essay, also broad in scope, examines the significant relationship between Cubism and the decorative arts in France.

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