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  <id>155485</id>
  <name><![CDATA[Anne Baldassari]]></name>
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  <id type="integer">396395</id>
  <isbn>2080305212</isbn>
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  <title>
    <![CDATA[Picasso: Life with Dora Maar]]>
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    <![CDATA[Dora Maar, born Henriette Théodora Markovitch in 1907, was a talented artist in her own right. While studying painting, she soon found a passion and gift for photography, and became a prominent member of the Surrealist movement. This catalogue traces her relationship with Picasso, from the time of their first meeting in late 1935 through 1937. Picasso expert Anne Baldassari demonstrates how those years were critical for both artists, and how their interaction provided mutual inspiration through the mid-1940s. The relationship is set within the context of major historical events, from the Spanish Civil War and the Popular Front, to the rise of fascism and World War II. <br/><br/>This chronological account brings a legend to life, allowing the reader unique access to two artistic minds. Maar s photographs, alongside Picasso's drawings, paintings, and poems, serve as a guide through the critical period in which these two figures influenced one another. Preserved in her studio archives, Maar's negatives and contact prints allow us to analyze in detail the intimacy of the life she shared with Picasso in all of its states, as well as the evolution of his art, including the colossal Guernica.<br/><br/>This exquisite volume features green-gilded pages and personal mementos—including notes scrawled on matchboxes and small sketches, which are produced on onion skin paper throughout.  This book sheds light on the profound mark left upon Picasso and his work by their dynamic relationship.]]>
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        <book>
  <id type="integer">1553267</id>
  <isbn>2080300482</isbn>
  <isbn13>9782080300485</isbn13>
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  <title>
    <![CDATA[Cubist Picasso: 1960-1925]]>
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    <![CDATA[In the world of art, Cubism was nothing less than revolutionary, representing a paradigm shift in the way artists perceived the world, and incontestably one of the most influential movements in art history. To celebrate the one-hundredth anniversary of Picasso’s seminal work Les Demoiselles d’Avigon, leading Picasso scholars and art historians assess its legacy and the extraordinary influence of Picasso’s Cubism on the development of twentieth-century art.]]>
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        <name><![CDATA[Anne Baldassari]]></name>
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  <title>
    <![CDATA[Picasso et les maîtres]]>
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    <![CDATA[]]>
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        <name><![CDATA[Anne Baldassari]]></name>
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    <id>39699</id>
        <name><![CDATA[Marie-Laure Bernadac]]></name>
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    <id>2847929</id>
        <name><![CDATA[Anaïs Bonnel]]></name>
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    <id>499</id>
        <name><![CDATA[Unknown]]></name>
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        <book>
  <id type="integer">1553266</id>
  <isbn>2080305093</isbn>
  <isbn13>9782080305091</isbn13>
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  <title>
    <![CDATA[The Surrealist Picasso]]>
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    <![CDATA[Between 1924 and 1934, Picasso's oeuvre developed dramatically. During this decade, the artist maintained a complex relationship with the burgeoning and hugely influential Surrealist movement. Eventually, he diverted from Surrealism to form a variant known as Supra-realism. This volume presents an integrated analysis of the whole of Picasso's artistic creation during the Surrealist period. Thematic texts reveal the extraordinary wealth of Picasso's work during this time. It begins with a study of his research on theater and ballet from 1914-23 and subsequently examines Picasso's work in painting, sculpture, and works on paper. This comprehensive account concludes with a study of the body of Picasso's work from 1935-40. These formative years, during which civil war raged in Picasso's native Spain, laid the groundwork for the increasingly political content of his later works. A detailed, fully illustrated chronology at the end of the book places this crucial period in its full intellectual and historical context.]]>
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    <id>155485</id>
        <name><![CDATA[Anne Baldassari]]></name>
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        <book>
  <id type="integer">707146</id>
  <isbn>0870701436</isbn>
  <isbn13>9780870701436</isbn13>
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  <title>
    <![CDATA[Picasso and Portraiture]]>
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    <![CDATA[Picasso's portraits display an astonishing range of moods, styles, personalities and approaches, whether abstract, surreal, cubist, classical or expressionist, as revealed by this resplendently illustrated catalogue of an exhibition at Manhattan's Museum of Modern Art. In the opening essay, Rubin, director emeritus of MOMA's painting and sculpture department, explores how Picasso's portraits served as a screen for his psychological projections and symbolic references to members of his ever-changing entourage. Eight essays by noted critics, including Pierre Daix, Robert Rosenblum, Brigitte Leal and Kirk Varnedoe, emphasize the central role of Picasso's women in his protean portraiture. Blonde muse Marie-Therese Walter, with whom he had a clandestine affair from the mid-1920s to 1933, underwent constant transformations, from instantly recognizable face to mythical goddess. Dora Maar inspired tragic grotesques, while mistress Fernande Olivier appears in many guises, and Francoise Gilot, the young painter whom he met in 1943, triggered images of dread and anxiety in his postwar canvases. Extraordinary self-portraits run the gamut from cocksure bravado to comedic apelike self-caricature. This album is a revelation.<br/>Copyright 1996 Reed Business Information, Inc.]]>
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    <id>155485</id>
        <name><![CDATA[Anne Baldassari]]></name>
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        <book>
  <id type="integer">396452</id>
  <isbn>2080304860</isbn>
  <isbn13>9782080304865</isbn13>
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  <title>
    <![CDATA[Bacon Picasso (Little Book of . . .)]]>
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  <link>http://www.goodreads.com/book/show/396452.Bacon_Picasso</link>
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    <![CDATA[Francis Bacon was so inspired by the Picasso exhibit in 1927 at the Paul Rosenberg gallery in Paris that he decided to dedicate himself to painting. From that point onward, he established and maintained a multifaceted relationship with Picasso's work. The visual, thematic, and philosophical aspects of the virtual dialogue that ensued between the two artists centered around what Bacon called &quot;the brutality of fact&quot; that linked his work to that of Picasso. Bacon-Picasso examines the work of the two artists through their common themes: the crucifixion, the kiss, the scream, and the studio portrait/self-portrait. The juxtaposition of paintings clearly demonstrates the ways in which Bacon appropriated Picasso's work into his own art. This volume, co-published with the Réunion des Musées Nationaux, draws from prestigious international collections including the Tate Gallery, London, Musée National Picasso and Musée National d'Art Moderne, Paris, Moderna Museet (Stockholm), and Fondation Beyeler, Basel.]]>
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  <id type="integer">6897996</id>
  <isbn>3888148766</isbn>
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    <![CDATA[Picasso und die Photographie. Der schwarze Spiegel]]>
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    <![CDATA[Picasso/Dora Maar : Il faisait tellement noir...]]>
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    <id>2995567</id>
        <name><![CDATA[Marcel Pochard]]></name>
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        <name><![CDATA[Thomas Grenon]]></name>
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        <name><![CDATA[Francine Mariani-Ducray]]></name>
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    <![CDATA[Picasso dans la collection Berggruen]]>
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    <![CDATA[L'ABCdaire de Picasso]]>
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    <author>
    <id>3253</id>
        <name><![CDATA[Pablo Picasso]]></name>
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    <average_rating>3.93</average_rating>
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