By Rosalind E. Krauss
Was once Picasso a latest Midas who not just became the trash of daily life into the gold of Cubist university but in addition gave new worth to the paintings of the outdated Masters? Or was once he a counterfeiter who mercilessly raided the types of others?
Krauss means that the explanation we nonetheless ask those questions is that modernism itself is a corridor of mirrors within which counterfeit & real are facets of an analogous situation. Revealing Picasso s college as a vertiginous play of voices, she indicates that no unmarried voice is real, no unmarried voice sanctioned by means of its writer. Picasso s pastiche of different artists is brilliantly introduced into concentration because the sublimated underbelly of Cubism itself, refashioned within the vibrant, fresh sort of the grasp s neoclassicism. Illustrated.
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Extra resources for The Picasso Papers
About the transformative powers, not so much of his own Given the link between Apollinaire and Picasso, they argue, creative gifts as of the aesthetic discourse itself: "turning the it is obvious that Picasso's very adoption of\newsprint as his dross of the vernacular, as it were, into the gold of art. :' to a claim that would go adherence to the esprit nouveau position that understands the 44 world of Mallarme as irrevocably superseded. so faras to suggest the Mallarmean character of Picasso's col- Further, they would add, "Zone" is not merely a celebra- lage.
L~~me, writing in La derniere mode under the pen name Ix. "Let such a volume [of verse] linger for eight days, half-opened, like a bottle of scent," he advises, "on silk cushions embroidered with fantasies; and let that other volume [of tales] pass from this testing ground onto the lacquered surface of a heavy cabinet-jewel boxes near at hand, locked shut until the next party," for Ix assumes his reader to be a woman. 24 Or, in yet another of his personae, that of Miss Satin, who signs the magazine's "Fashion" column, he admits: "We have all dreamt of this gown, without knowing it.
12 In contradistinction to the internal form of the explanation, • PICASSO/PASTICHE I 99 initely to range himself on the French side, and did these · sou. 13 pictures attest to the torment 0 f h 1S there is, of course, the externalist one. " Like the internal analyses, externalist explanations are also multiple, moving from Picasso's private life, to his social mobility, to the political situation in which he suddenly found himself with the outbreak of war. Thus it was not the bourgeoisification but the politics of the thing that William Uhde stuck at as he, too, stared at the 1919 exhibition, stupefied: Uhde is telegraphing here what would be developed at far greater length and in far greater detail in recent accounts of the outbursts of French nationalism during W orId War I, a which in turn prepared the way for the postwar rappel l'ordre.