14 Behind Picasso’s pins
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Lisa Florman
Abstract
During the spring of 1913, Picasso produced a rather unusual series of papiers collés, in which we find something surprising: metal straight pins. This essay discusses Picasso’s use of pins in his papiers collés to illustrate some of the tensions and divisions that not only structured the pasted paper works themselves, but also marked out some of the important differences or ruptures around which, in 1913, the field of modern French art was beginning to take shape. By bringing pins, mass-produced industrial objects into the representational space, Florman argues, Picasso’s papiers épinglés epitomize questions around art and mass industrial production, prefigure the ready-made as the end of painting, and make apparent the tensions between pure painting and figurative painting, decorative and fine arts.
Abstract
During the spring of 1913, Picasso produced a rather unusual series of papiers collés, in which we find something surprising: metal straight pins. This essay discusses Picasso’s use of pins in his papiers collés to illustrate some of the tensions and divisions that not only structured the pasted paper works themselves, but also marked out some of the important differences or ruptures around which, in 1913, the field of modern French art was beginning to take shape. By bringing pins, mass-produced industrial objects into the representational space, Florman argues, Picasso’s papiers épinglés epitomize questions around art and mass industrial production, prefigure the ready-made as the end of painting, and make apparent the tensions between pure painting and figurative painting, decorative and fine arts.
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures viii
- Notes on contributors xii
- Acknowledgements xvii
- Introduction 1
-
Acknowledgements
- Introduction 29
- 1 Prehistoric Proust 33
- 2 Fantômas and the shudder of history 54
- 3 Inventing, collecting and classifying in the margins 72
- 4 The anxious centre 88
- 5 1913, the year of the arrière-garde? 109
-
Acknowledgements
- Introduction 123
- 6 A modernism that has not yet been 127
- 7 On situating French modernism 145
- 8 Les Caves du Vatican and the real novel 163
- 9 1913, between peace and war 173
-
Acknowledgements
- Introduction 193
- 10 Camille Flammarion’s flash-forward 197
- 11 How ‘simultaneous’ is it? 220
- 12 Mallarmé’s modernity in 1913 237
- 13 Poetry displaced 252
- 14 Behind Picasso’s pins 274
-
Part IV: Coda: on modernism, beyond France and 1913
- 15 1913, the future in the past 299
- 16 The paradox and promise of the ‘new’ French Modernist Studies 310
- Index 325
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures viii
- Notes on contributors xii
- Acknowledgements xvii
- Introduction 1
-
Acknowledgements
- Introduction 29
- 1 Prehistoric Proust 33
- 2 Fantômas and the shudder of history 54
- 3 Inventing, collecting and classifying in the margins 72
- 4 The anxious centre 88
- 5 1913, the year of the arrière-garde? 109
-
Acknowledgements
- Introduction 123
- 6 A modernism that has not yet been 127
- 7 On situating French modernism 145
- 8 Les Caves du Vatican and the real novel 163
- 9 1913, between peace and war 173
-
Acknowledgements
- Introduction 193
- 10 Camille Flammarion’s flash-forward 197
- 11 How ‘simultaneous’ is it? 220
- 12 Mallarmé’s modernity in 1913 237
- 13 Poetry displaced 252
- 14 Behind Picasso’s pins 274
-
Part IV: Coda: on modernism, beyond France and 1913
- 15 1913, the future in the past 299
- 16 The paradox and promise of the ‘new’ French Modernist Studies 310
- Index 325
