By John Ch.E.St.
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Additional info for Critique of the Hypothesis of Anomalous Dispertion in Certain Solar Phenomena
110 In order to further his discovery of conception over perception, Picasso embarked on a series of paintings of stonelike nudes. His style became more impersonal, less sentimental. Like his literary friends Apollinaire, Jacob and Salmon, Picasso had made the transition away from symbolism toward a new representation of reality. This brings us to the end of 1906. 112 The challenge is not only in the subject’s aggressive posture: the minimalist coloring, the clenched ﬁst and the conceptual presentation of face as mask all propose a forceful alternative to Matisse’s fauve art.
Space was no longer empty. Instead rays were ﬂying everywhere: alpha rays from radioactive emissions, beta rays, which are another name for electrons, gamma rays, which would eventually be recognized as a species of light, as would X rays. The very name “X ray” denoted that scientists were not exactly sure what they are. The notion of X-ray vision, which had titillated the imaginations of writers since the 1890s, now seemed about to be made real. 56 Recall that Picasso’s ﬁrst trip to Paris, in 1900, was to attend the Exposition Universelle at which his painting The Last Moments was exhibited.
This led to a severe falling-out, followed by a passionate reconciliation. 92 COLLECTORS AND DEALERS Another input into Picasso’s stylistic transformation was his introduction, by Roché, to Leo and Gertrude Stein. In October 1905, Roché arranged 34 EINSTEIN, PICASSO for Leo to visit the Bateau Lavoir. Leo, amazed at what he saw, was completely taken by Picasso: “He spoke little and seemed neither remote nor intimate—just completely there. . ”93 A few days later, Fernande and Picasso dined at the Steins’ flat at rue de Fleurus, on the Left Bank.
Critique of the Hypothesis of Anomalous Dispertion in Certain Solar Phenomena by John Ch.E.St.
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