Making Time : Picasso's "Suite 347

Memory Holloway

ISBN 10: 0820450464 / ISBN 13: 9780820450469

Published by Peter Lang, Peter Lang, 2006

About this Item

Druck auf Anfrage Neuware - Printed after ordering - In 1968, near the end of his life, Picasso made 347 etchings that show his interest in television and film, wrestling, and the female nude. Some of the prints refer to old Celestina, the cunning marriage arranger featured in Fernando de Rojas's play. Others investigate the aging process, voyeurism, the orientalized setting of the harem, and explicit lovemaking as the Pope looks on. When the etchings were exhibited in Paris, and later Chicago, there was heated controversy on their status as pornography. In both cities the works were censored. Memory Holloway examines Suite 347 as a summary of the themes of Picasso's work, set in the context of the student conflicts of May 1968 and his continuing experimentation as a printmaker.

Seller Inventory # 9780820450469

Bibliographic Details

• Title: Making Time : Picasso's "Suite 347
• Publisher: Peter Lang, Peter Lang
• Publication Date: 2006
• Language: English
• ISBN 10: 0820450464
• ISBN 13: 9780820450469
• Binding: Buch
• Condition: Neu
• Dimensions: 236W x 165H x 20D millimeters 236 millimeters width by 165 millimeters height by 20 millimeters depth
• Weight: 607 grams

About this title

Synopsis

In 1968, near the end of his life, Picasso made 347 etchings that show his interest in television and film, wrestling, and the female nude. Some of the prints refer to old Celestina, the cunning marriage arranger featured in Fernando de Rojas’s play. Others investigate the aging process, voyeurism, the orientalized setting of the harem, and explicit lovemaking as the Pope looks on. When the etchings were exhibited in Paris, and later Chicago, there was heated controversy on their status as pornography. In both cities the works were censored. Memory Holloway examines Suite 347 as a summary of the themes of Picasso’s work, set in the context of the student conflicts of May 1968 and his continuing experimentation as a printmaker.

About the Author

The Author: Memory Holloway teaches twentieth-century art history at the University of Massachusetts Dartmouth. She has written on the collection of Picasso’s work in the National Gallery of Victoria, and is the author of Paula Rego: Open Secrets (1999), exhibited in Massachusetts and Paris at the Calouste Gulbenkian Foundation.