القيم التشكيلية والتعبيرية في الأعمال المطبوعة عند الفنان بيكاسو

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فن

روابط وملفات

التعريف والنوع

رقم الوثيقة

0e80686f-8f45-47ed-b1a0-95834d1a55b9

رقم العقد

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نوع الوسائط

Crawler

نوع المحتوى

الرسائل العلمية

صيغة المصدر

رسائل ماجيستير

نوع الملف

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أسماء الملفات

1964040_1.pdf

بيانات النشر

ترجمة العنوان

Plastic and Expressive Values Of Picasso's Printmaking

ألقاب المؤلفين

[{"name_ar":"قصي الشورى ","title_ar":"اعداد","title_en":"Preparation"},{"name_ar":"نبيل رزوق ","title_ar":"اشراف","title_en":"Supervision"}]

اللغة

Arabic

المصدر والدورية

اسم المصدر

القيم التشكيلية والتعبيرية في الأعمال المطبوعة عند الفنان بيكاسو

المحتوى والصفحات

عدد الصفحات

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ترجمة الملخص

This research carries the subject of "Plastic and Expressive Values of Picasso’s Printmaking". It contains four units, the first unite is about the "The beginningand career lifeof Picasso betweenSpain and France". The first chapter includes Picasso's life and his study for arts. He grow up in an artistic environment and he was surrounded with his father's farm instruction, which pushed him to go to Madrid and study Art. Maybe the rebellious thinking he had led him to go to Paris where his artistic vision became wider. The living conditions had an obvious effect on Picasso's work and his art went through different levels and phases, which made him one of the most important artists in Paris and in Europa. Picasso was with his art and copious production the most honest way to incorporate a whole group of contradictions in the modern artistically events of the twenty's century.The second chapter is about Picasso's various Printmaking technics. Through it, we can see that Picasso used different tools to implement his work. Using Intaglio print technics he made a lot of printed pieces using the Drypoint and Etching. Picasso was attracted to these technics for their various outlines and high quality, which harmonized with his drawing style. In another hand, he found with his sharp sight in all his artistic fields that these technics are easy to perform. Picasso outshined in using Sugar process and Aquatinttechnics after he found out these technics' graphic effects and their different surfaces and rich colors degrees. Picasso aimed to reach high expressional values which could be equal to the values he could reach in is drawings. Picasso dealt with different tools of printing and engraving like a master, and differ with printing careful concepts and traditions. He was aware when dealt with the possible tools and he used his technics in a strange and special way. Picasso used collage art technic skillfully in his printed works using Chine collé. It was not enough for him to print on metallic surface but he even used new surfaces such as Celluloid in many of his printed works. Picasso worked in many printers studios and his experience effected his experimental vision. He preferred linoleum printing in the field of relief printing on using wood. In this domain, Picasso comprehended all the traditional technics. Still, his search for colored prints with delicate lines and colored spaces made him reach his own technic that was called Reductive printmaking which reduced the number of blocks and produced prints without printing errors or colors overlapping and that created a real revolution in relief printing. Picasso used Linoleum with a master confidence and he created different impacts and textures in his printed works. He used new engraving's tools and sometimes he used old Blocks and printed his works with new treatments and special vision in the aim of reaching with every subject the most level of expression.In the domain of planographic printing, Picasso used the lithograph in the traditional way and gothimself aware to this printing technics. He used one printing stone to go through different scraping and scratching processes that he used to produce real examples explaining the modification logic to reach the Abstract shape. Picasso use all the lithograph technics with an experimental way and differ from its regulations in the aim of reaching new surfaces and textures. He used lithograph zinc to implement a chain of works reflecting the modification concept in the printed picture and colored works included 24 colors through the planographic printing. Still, it was not his goal to force colors so we could find him using several Blocks and printing with only black and its grays' degrees sometimes. In addition, Picasso printed some works through the photograph ways using the photogram technic to produce examples not less important than his printed works and his art. Picasso was aware of all the modern printing technics and he studied all the possibilities to present printed works.The second unite is titledas "The Mythology as an expressive value in Picasso's printmaking works" this unite contains of two chapters. Chapter one, talks about Picasso's printed art works inspired by mythology. In the beginning of this chapter we present the definition of mythology and its history and the connection with arts and we present some of Picasso's printed works with this subject to find out that these kind of ideas started with him since he was very young and that developed to a direct inspiration from the Greek and Roman methodology. Picasso methodological vision crystalized in the thirties with his illustration drawings for literature books. That played a fundamental reason to make him work on solo methodological works included the Minotaur, which is a mythological creature as a sample in his printed works. We can see that he used and dropped his own personality on the Minotaur, which helped giving special expressions changed according to Picasso's feelings. Picasso used this methodological creature in his first studiesfor his painting Guernica.After the Second World War Picasso used new methodological creatures such as Centaurs,Faunand Bacchantesto produce printed works with different methodological subjects reflecting expressions of happiness, hope and joy. These works captured the European atmosphere, he reformed the root of the old methodology and shaped modern drama and tragedy out of it. He smartly used the technical sides of printing to create spontaneous feeling companied with plastic performance led to a joyful situation and differed from the academic documentation of the shapes.The second chapter was titled as Picasso's illustration drawings and the methodological effect on them. In the introduction, we explain about the development of the illustration books and drawings and we highlight Picasso's works which were inspired by methodological subjects. He gave a special interest in the classical and methodological literature. Le Chef-d'oeuvre inconnubook had a big role to push Picasso to his most important artistically subjects. Picasso presented Métamorphoses d'Ovidebook as a photographical reading full of expression and interacted with the readers. His shapes were in harmony with the Renaissance and the Etruscan's arts and he was inspired by the methodological drawings on the red incent Greek pottery works. Picasso created a new style in illustration drawings by using photographic technics. His works in this domain were special in activating the drawings' visual role in a way harmonized with the content ofthe literature. The third unite of the research is titled as " Woman as an esthetic and expressing element in Picasso printmaking" In the first chapter we talked about woman in Picasso's printed works, in the introduction of this chapter we highlightedthe women element and her appearance in the art history as a plastic item carried different expressions. In the twenty's century and Picasso's experiment, woman was the subject that Picasso had never stopped implementing, woman element came in his first works through his relatives' drawings. Later, Paris give him new ways to present woman subject. Woman appeared naked which had a deep indicators mix of the liberated life and women beauty. We could notice the different shapes for this element and the changing plastic treatment according to Picasso's artistic phases. In the bleu period woman was ascetic, in the Cubism phase was sectioned and divided, in the Classical phase was an archaeological monument or presented the unlimited qualities of beauty and grace. In the Surrealism phase she was biomorphic and sexy. Woman element was not an exception from the continued changing principle of Picasso's works, in a way it was very close for being an emotional documentation for his different relationships with women. Picasso's different artistic phases were related to his well of exploring new artistic domains. Woman in his works was in two different faces, one is beauty and the second is tremendous desire. Picasso presented woman through symbolic scenes with differentmeanings reached sexual dimensions sometimes. In the portrait art, we find out that Picasso pushed the woman subject to the extreme expression limits, the face went through breaking, vilification and duplication and that was clear when he presented The Weeping Woman where he expressed suffering and anger. After the Second World War he used the woman subject in works about peace and new life. When he settled dawn in his family's life, he used woman to present emotional subjects such as motherhood and motherwith her kids. During the time Picasso was reforming the masters works, woman presence showed the multiple changes in his new vision for woman body, he relied on his creative ability in creating a series of changes. In Picasso's late printed works he used woman element in open ending subjects and his works were sarcastic and comical sometimes. His works were connected to the old Japan's printed works about sex and pleasant. Woman appeared in central scenes distinguished by being erotic character. Picassoused his creative work to express the sexual act and fulfilling the desires. Literature was one of the things that opened new horizon for him to present woman in new shapes.The second chapter talks about the differences between presenting the woman subject in Picasso’s lithograph and relief prints. We highlight the differences expressive between his art works, where Picasso present the female with his first relief print, exactly like his first lithographs. The female's subject was his favorite theme. We find that Picasso benefited from the lithograph techniques to make many variations and simplification on the women's forms. So he transferred the forms from realistic to abstract while the subject still immutable unlike his linoleum-cut especially with his reductive method printing. Picasso transferred the women forms from subject to another one with easy performance, so he present the women subject through continual and related theme to find his linoleum-cuts as new audition to the same play shined with the colored female figures.Finally, the fourth unite convers the experience of the researcher. This experience is based on many paintings done in various techniques of printmaking, conception woman as motif and subject for painting and it was built on searching the aesthetic and expressive values of the woman form. In addition to this, this experience had was interested on experimenting with some of the techniques and a pproachs of Picasso in printmaking domain.

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