Picasso And River Conversations Across Time - 1289 Words

Pablo Picasso and Diego Rivera were friends, rivals, and two of the most influential artists working in the early 20th century. Los Angeles County Museum of Art (LACMA) in their exhibit â€Å"Picasso Rivera: Conversations Across Time† examines the relationship between these two frenemies through five thematic sections, and is a breathtaking example of just how much artists can influence each other while still creating their own distinct pieces that would define an era. The way that the exhibit is presented by co-curators Diana Magaloni, the deputy director of the Program for the Art of the Ancient Americas at LACMA, and Michael Govan, LACMA CEO and Wallis Annenberg Director, is an excellent format for the novice gallery observer. Following†¦show more content†¦Even at such a young age, both are prime examples of what would later be their defining archetypes as Picasso the romantic, whose drawing has a clear focus on the female figure, and Rivera the anti-imperialist, whose sculpture is toppled over in perhaps protest of the classicism present in the era. Their paths crossed for the first time at the start of World War One, in 1914, both as non-combatant artists in Paris. Picasso, then 28, had been living in Paris for years while Rivera, then 23, was just starting to make a name for himself and had come to Europe to further develop his art. The two became quick friends, talking all night about the future of art on the night they met; and ironically, would later both change the future of art and would be at the forefront of the Cubist movement. One year after their initial meeting, the famous rivalry between the two artists emerges. Both artists became active participants in the avant-garde movement, and started creating Cubist works. The exhibit follows this transition, leading viewers to the main attraction: the quintessential Cubist room. Featuring perhaps one of the best representations of the similarities between the two artists, Picasso’s â€Å"The Poet† (1912) and Rivera’s â€Å"Sailor at Lunch,† (191 4) the room shows the beginning stages of the experimentation for both of the artists.Show MoreRelatedArt Appreciation 2 - Research an Artist - Diego Rivera1666 Words   |  7 Pagesartist’s early experiences as an artist? Rivera spent much of his early years going back and forth between Spain and Paris with his artist friends. He became interested in cubism shortly before World War I and even had a lengthy conversation with Picasso regarding cubism and his recent works. (Wikipedia) 4. What were the significant early works of art and what were they like? Rivera’s first known works were La Era and La Castaňeda, both oil on canvas. La Era was a landscape showingRead MoreShort Story7933 Words   |  32 PagesJones signed the three forms, then he turned the check over to Karen. Before leaving his office, Karen requested to see Danny and James on her next visit. Warden Jones wrote down the request. Karen strolled over to the elevator, it came faster this time. No sooner had the elevators doors closed and moved between the fourth and third floor when the riot alarm sounded. The guard in the main camera station that is located on the first floor, which could see view everything on all the floors soundedRead MoreArt as an Embodied Imagination22095 Words   |  89 Pagescomments, and useful suggestions. Finally, the authors thank V. Baba, who is the source of inspiration for this article. For orchestrating many beautiful experiences in museums around the world, this one’s for you! more 1999; Schmitt 1999), so it is time for consumer researchers to revisit Kant’s question, â€Å"How is experience possible?† In deï ¬ ning the noun experience as â€Å"the apprehension of an object or emotion through the senses or mind† and the verb to experience as â€Å"to participate in personally;Read MoreArt as an Embodied Imagination22095 Words   |  89 Pagescomments, and useful suggestions. Finally, the authors thank V. Baba, who is the source of inspiration for this article. For orchestrating many beautiful experiences in museums around the world, this one’s for you! more 1999; Schmitt 1999), so it is time for consumer researchers to revisit Kant’s question, â€Å"How is experience possible?† In deï ¬ ning the noun experience as â€Å"the apprehension of an object or emotion through the senses or mind† and the verb to experience as â€Å"to participate in personally;Read MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 Pagespage intentionally left blank Organizational Behavior EDITION 15 Stephen P. Robbins —San Diego State University Timothy A. Judge —University of Notre Dame i3iEi35Bj! Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Director of Editorial Services: Ashley Santora Acquisitions Editor: