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DUNCAN, David Douglas
Picasso's Picasso
New York Harper & Brothers 1961
Reference : 28523
in-4 bien illustré couleurs (portraits et reproductions) et vignettes en noir, 270p. Cartonnage de l'éditeur, toile blanche et jaquette illustrée couleurs. :: Ouvrage imprimé en Suisse. Bon état.
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Librairie Transatlantique
M. Francois Côté
10415 Grande Allée
H3L 2M4 Montréal
QC - Québec Canada
1 514 820 2324
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Les livres et documents offerts sont en bon état, sauf indications contraires. Les documents insatisfaisants peuvent être retournés, après entente, dans la semaine de leur réception. ::::: Les prix sont nets, en dollars canadiens. Paiement sur cartes bancaires, Paypal, traite en dollars canadiens ou chèque en devises (plus frais de banques). Les frais de port, d emballage et d assurance sont en sus. La TPS canadienne, lorsqu elle s applique, sera ajoutée au total. ::::: Frais de port minima, avec couverture et repérage, jusqu'à 500 gr : Canada, 15$; USA, 25$; international, 62$ (air). Plus de 500 gr et jusqu à 1 kg : Canada, 18$; USA, 30$; international 87$ (air); plus de 1kg et jusqu'à 2kg : Canada, 20$; USA, 32$; international 97$ (air); (augmentation des Postes de février 2023). Des tarifs plus bas existent mais aux risques du client, désolé.
5 book(s) with the same title
Pablo Picasso - Linocuts. - [PICASSO'S FAMOUS LINOCUTS]
London, Thames and Hudson, 1963. Folio-oblong (340 x 400 mm). In the original clothbinding with black printed Picasso-drawings on front board. Housed in the original slipcase. Very light marginal brownspotting to text-leaves, slipcase with a bit of wear and light miscolouring. Otherwise very nice and clean. (14) pp. + 45 linocuts by Picasso.
The uncommon and exquisitely printed “Linocuts” by Picasso, which marked the beginning a new period for him as an artist. The prints were made by carving away part of the surface of a sheet of linoleum then inking and printing the remaining surface. Picasso began creating linoleum cuts to give color a more prominent role in his graphic work having previously considered it a secondary medium. His linoleum cuts emerged from a desire to adapt previous artistic concepts to a new medium and he quickly achieved original results that were not secondary to his pervious works. Inspired by memories of bullfighting from his youth in Arles and Nimes Picasso focused on this theme in his linoleum cuts produced in the fall of 1959. Despite not having seen bullfights in Spain for many years, he felt their influence after the town of Vallauris allowed bullfighting under revised rules in 1954. “Just how and when Picasso became attracted by the linoleum technique is not known. Perhaps it was like the instance of the year 1957, when he capriciously finished his “L’ Arlésienne* with pigeon feathers picked up from the floor of his home “La Californie.” It must be assumed, aware as we are of Picasso’s working methods, that his interest in linoleum technique was derived from some insignificant yet real incident, as well as from a response to a deep artistic need. The smooth and supple drawings in India ink and lithograph pencil for the “Tauromaquia”, which set the tone for the subsequent linoleum cuts, reveal a difference, something remarkably new and fresh. The ink drawings, particularly, point the way to heavy and unmodeled designs which are more crisp and more succinct (their similarity with a silhouette-like effect is certainly significant). When he began the series of linoleum cuts, the artist was already prepared with a wide range of procedures that would adjust his subjects to the flat, extended areas that are inherent in this medium. Although Picasso had made only a few woodcuts in the past, he immediately adopted a resolute and robust approach to the new technique and interpreted in the widest possible way the rules of carving such an easily yielding material. Formal principles that embody lines and surfaces, as well as pictorial and decorative elements, are freely applied to create prints that are sometimes produced from a combination of several individual color blocks or, more often, from a single linoleum block that was cut and recut. Others, browns, and blacks, reminiscent of Greek vase painting, became the dominating color scheme, permitting a limited range of color variations. As usual, Picasso intuitively developed techniques which exhausted the medium.” (From the introduction to the present work)
PICASSO (Catalogue) - BALDASSARI Anne (Directeur du catalogue)
Reference : 25189
ISBN : 2081290464
Picasso : Chefs-d'oeuvre du Musée national Picasso-Paris. PICASSO, les chemins du sud.
Catalogue d'exposition PICASSO, les chemins du sud.-1er juillet-30 sept. 2012. In-4 broché, couverture à rabats imprimée en couleurs, 112 pages, illustré de photographies et reproductions d'oeuvres.-500-1000g.L. - Excellent état, comme neuf.
Picasso chez Picasso.
Antibes Musée Picasso d'Antibes 1991 1 vol. broché in-4, broché, couv. illustrée, 128 pp., nombreuses reproductions en noir et en couleurs. Très bon état.
Picasso avec Picasso.
Paris Pierre Bordas & Fils 1987 1 vol. relié in-4, cartonnage sous jaquette illustrée, 349 pp., nombreuses photos en noir et en couleurs de l'auteur. Présentation de Pierre Daix. Très bon état.
Les Picasso de Picasso.
Paris La Bibliothèque des Arts 1961 1 vol. relié in-4, cartonnage sous jaquette illustrée, 271 pp., nombreuses reproductions en couleurs contrecollées. Petites usures en bordure supérieure de la jaquette, sinon en très bon état.
