Myth and Metamorphosis: Picasso’s Classical Prints of the 1930s

Lisa Florman0-262-06213-5, 9780262062138

The book’s argument is built around detailed analyses of several separate print series: Picasso’s illustrations for Ovid’s Metamorphoses, the etchings of the Vollard Suite, and The Minotauromachy. Common to all of them, the book shows, is a strong engagement not only with the classical, but with the viewer. In the latter, Picasso’s prints are clearly at odds with the understanding of the relationship between classical art and its audience that prevailed throughout most of the nineteenth and twentieth centuries–an understanding that held the work’s purported autonomy to mirror the viewer’s own. By exposing that autonomy as a fantasy, Picasso opens the “classical” work and its viewer alike to the entanglements of desire and the dissolution of boundaries it inevitably brings.

пароль: infanata

---

Table of contents :
Cover Page……Page 1
Title Page……Page 4
© 2000 Massachusetts Institute of Technology……Page 5
Contents……Page 8
List of Illustrations……Page 9
Preface……Page 17
1 In the Background of Picasso’s Classical Prints……Page 20
2 Metamorphic Images: Picasso’s Illustrations of Ovid……Page 32
3 The Structure of the Vollard Suite……Page 88
4 Of Myth and Picasso’s Minotaurs……Page 158
5 The Classical Prints in the Context of Picasso’s Oeuvre……Page 214
Notes……Page 226
Bibliography……Page 262
Index……Page 274