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Picasso's neoclassic outlines: An archaeology of consciousness

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References

  1. Reinach outline publications: As with other general citations in the notes below, seepassim: Peintures de vases antiques recueillies par Millin (1808) et Millingen (1813). Publiées et commentées par S. R., Paris, 1891; idem, Reinach outline publications: As with other general citations in the notes below, seepassim: Répertoire de la statuaire grecque et romaine, 2e éd., Paris, 1904–1930, 6 v. in 4 (v. I has 4000 pieces); idem, Reinach outline publications: As with other general citations in the notes below, seepassim: Répertoire des vases peints grecs et etrusques, Paris, 1899–1900, 2. v.; idem, Reinach outline publications: As with other general citations in the notes below, seepassim: Répertoire de la statuaire grecque et romaine, Paris, 1904–1916, 5 v. in 4; idem, Reinach outline publications: As with other general citations in the notes below, seepassim: Répertoire de reliefs grecs et romains, Paris, 1909–1912, 3 v.; idem, Reinach outline publications: As with other general citations in the notes below, seepassim: Répertoire de peintures grecques et romaines avec 2720 gravures, Paris, 1922. See alsoBibliographie de Salomon Reinach, Paris, 1936.

  2. Picasso's production, bibliography, biography, and evolving critiques;Pablo Picasso, Oeuvres, ed. C. Zervos, Paris, 1932 ff.; R. Penrose,Portrait of Picasso (1956), 3rd rev. ed., London, 1981;Picasso in Perspective, ed. G. Schiff, Englewood, Cliffs, 1976;A Picasso Anthology, ed. M. McCully, Princeton, 1982; J. Richardson,A Life of Picasso, v.I. 1881–1906, New York, 1991 1981; see note 4, below. Picasso's borrowings: P. Pool, “Sources and Background of Picasso's Art 1900–6,”Burlington Magazine 101, 1959, 176–182; A. Blunt and P. Pool,Picasso, the Formative Years: A Study of His Sources, Greenwich, Conn., 1962.

  3. A. Blunt,Picasso's ‘Guernica’, London, 1969 [public lecture in the previous decade].

  4. Guernica and Picasso's primal scene imagery: see note 3 above;Picasso in Perspective (note 2 above), pp. 90 ff.; S. Howard, “The DresdenVenus and Its Kin: Mutation and Retrieval of Types,”Art Quarterly 2.1, 1979, 90–111, n. 35; L. Schneider Adams,Art and Psychoanalysis, New York, 1993, pp. 294 ff. Criticisms and personality of Picasso: F. Gilot and C. Lake,Life with Picasso, New York, 1964; J. R. Mellow,New York Times, 24 October 1971, sec. 2;Picasso in Perspective, passism; M. M. Gedo,Picasso: Art as Autobiography, Chicago, 1980; A. S. Huffington,Picasso: Creator and Destroyer, New York, 1988; see note 2 above.

  5. Picasso's Pink Period outlines and subsequent linear and metamorphic classicizings: D. Sutton,Picasso. Peintures époques bleue et rose, Paris, 1948; W. S. Lieberman,Pablo Picasso: Blue and Rose Periods, New York, 1952; P. Daix and G. Boudaille,Pablo Picasso: The Blue and Rose Periods… 1900–1906, Greenwich, Connecticut, 1967; see notes 2 and 4 above. Wolfgang Haase has generously brought to my attention a study by Moshe Barasch (“Antike und klassische-Moderne: Über Pablo Picasso,” inAntike Heute, eds. R. Faber and B. Kytzler, Würzburg, 1992, 8–18, esp. 15 figs. 2, 4–5), where Classical pathos formulas found in theGuernica are compared with generally kindred details in Reinach's encyclopedicRépertoire des reliefs (note 1 above, I, 322, and III, 150), among other archaeological publications.

  6. Outlines in children's art and gestalt psychology: G. Britsch,Theorie der bildenden Kunst, ed. E. Kornmann, 3rd. ed., Ratingen, 1952; V. Lowenfeld,Creative and Mental Growth, 8th ed., New York, 1987; idem, V. Lowenfeld, Outlines in children's art and gestalt psychology: G. Britsch,Theorie der bildenden Kunst, ed.,The Nature of Creativity, New York, 1939; R. Arnheim,Art and Visual Perception, Berkeley, 1954; E. H. Gombrich,Art and Illusion, New York, 1960.

  7. Contemporary manuals teaching hand-eye coordination still preserve traditions made mannered by exploiting distortions or uncensored accidents of “chance” since the time of Matisse, his followers, and their “blind drawings”: see, e.g., K. Nicolaides,The Natural Way to Draw, Boston, 1941; B. Edwards,Drawing on the Right Side of the Brain, Los Angeles, 1979.

  8. Early Modern Neoclassic outlines: R. Rosenblum,The International Style of 1800: A Study in Linear Abstraction (1956), New York, 1976; idem, V. Lowenfeld, Early Modern Neoclassic outlines: R. Rosenblum,Transformations in Late Eighteenth Century Art, Princeton, 1967; H. Honour,Neo-classicism, Harmondsworth, 1968; S. Howard, “The Steel Pen and the Modern Line of Beauty,” in: idem, Early Modern Neoclassic outlines: R. Rosenblum,Antiquity Restored, Vienna, 1990, pp. 213–220, 289–291.

  9. C. O. F. J.-B., Comte de Clarac,Musée de sculpture antique et moderne: Description … du Louvre … des statues, bustes, bas-reliefs …, Paris, 1826–1853, 13 v.; cf. collations in Reinach (note 1 above),Répertoire de statuaire …, vol. I.

  10. Renaissance and Baroque antiquarianism and outlines: H. Ladendorf,Antikenstudium und Antikenkopie, Berlin, 1958; C. C. Vermeule,European Art and the Classical Past, Cambridge, Mass., 1964; idem, Renaissance and Baroque antiquarianism and outlines: H. Ladendorf,The Dal Pozzo-Albani Drawings of Classical Antiquities in … Windsor Castle, Transactions of the American Philosophical Society 56, pt. 2, Philadelphia, 1966; S. Howard,A Classical Frieze by Jacques Louis David, Sacramento, 1975, pp. 70 ff.;Cyriacus of Ancona's Journeys, … 1444–1445, eds. E. W. Bodnar and C. Mitchell, Transactions of the American Philosophical Society 112, Philadelphia, 1976; M. Greenhalgh,The Classical Tradition in Art, New York, 1978; P. Bober and R. Rubinstein,Renaissance Artists and Antique Sculpture, Oxford, 1986; and antiquarian publications of the Warburg Institute, London, generally.

  11. Medieval antiquarianism: J. Adhémar,Influences antiques dans l'art du moyen âge français, London, 1939; W. Oakeshott,Classical Inspiration in Medieval Art, London, 1959; Greenhalgh (note 10 above), pp. 19–32, 236–239.

  12. Classical, Bronze Age, and Stone Age outlining: J. D. Beazley,The Development of Attic Black-Figure, Berkeley, 1951; H. Frankfort,The Art and Architecture of the Ancient Orient (1954), Harmondsworth, 1970;Propyläen Kunstgeschichte, Berlin, 1966–1974, I–III and XIII–XV.

  13. Legendary silhouetting and outlining in art: Pliny records the archetypal origins of painting in the West (Natural History XXXV.151–152). A daughter of the Sikyonian potter Butades traced the shadow of her departing lover on the wall, and her father outlined, modeled, and fired it clay. Among the moderns, this practice was used as a metaphor for the origins of art and history by J. J. Winckelmann (Geschichte der Kunst des Alterthums [Dresden, 1764], bk. XII, ch. 3) and as a “scientific” source of character study by J.C. Lavater (Physiognomische Fragmente zur Beförderung der Menschen-Kenntnis und Menschen-Liebe,4 v., Leipzig and Winterthur, 1775–1778). In his late paintings Picasso playfully combined shadow silhouettes with outline- and silhouete-based images of his own sculpture and models.

  14. Plato, Euclid, Pythagoras, and Golden Section mystiques:Art and Geometry, ed. S. Howard, Davis, 1991, Introduction; J. Hambidge,The Parthenon and Other Greek Temples: Their Dynamic Symmetry, New Haven, 1924; M. Ghyka,The Geometry of Art and Life (1946), New York, 1977; R. Lawlor,Sacred Geometry: Philosophy and Practice, London, 1982; W. R. Knorr,The Ancient Tradition of Geometric Problems, Boston, 1985; G. E. Runion,The Golden Section, Palo Alto, 1990; M. Kemp,The Science of Art, New Haven, 1990; H. Damisch,The Origin of Perspective, tr. J. Goodman, Cambridge, Massachusetts, 1995.

  15. Duchamp's outlines of Courbet et al. and the Golden Section: A. Schwarz,The Complete Works of Marcel Duchamp, London, 1969, nos. 394–406; S. Howard, “Hidden Naos: Duchamp Labyrinths,”Artibus et Historiae 29, 1994, 153–180.

  16. J. Gruen,Keith Haring: The Authorized Biography, New York, 1991.

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  1. Department of Art, University of California-Davis, 95616-8528, Davis, CA, USA

    Seymour Howard

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This note is based on a paper delivered at the Third Meeting of the International Society for the Classical Tradition (ISCT), held at Boston University, March 8–12, 1995.

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Howard, S. Picasso's neoclassic outlines: An archaeology of consciousness. International Journal of the Classical Tradition 2, 560–566 (1996). https://doi.org/10.1007/BF02677891

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