No. 45 (2024)

View No. 45 (2024)

DOI: https://doi.org/10.24310/ba452024

Published: 2024-10-04

Presentation

Presentación

1-21
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Contrasts

Rembrandt/Picasso

María Dolores Jiménez-Blanco

25-36
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Picasso and the Philosophers: an Overview

Gerard Vilar

37-48
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Picasso in his Studio: Comparing Sculpture

Rocío Robles Tardío

49-59
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Research Paper

Analysis of Picasso’s Expositive Presence in New York during the 20th Century

María Ortiz Tello

63-78
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Genius and Classicism. Picasso as a Draftsman, According to María Zambrano

Antonio Castilla Cerezo

79-87
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The Press Coverage of the Premiere of Parade in Paris: Pablo Picasso’s First Collaboration with Diaghilev’s Russian Ballets

Macarena Cebrián López

89-99
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Picasso Precedent in the Curatorial Shift: the Retrospective Exhibitions in Paris and Zurich (1932) as Prior Proposals to the Figure of the Curator as Creator

Bárbara Bayarri Viñas

101-110
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Pablo Picasso, in the Drift of Spanish Communism: Chronicle of a Marginal Story in the Struggle against Franco’s Regime

Beatriz Martínez López

111-121
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Gender complexity in Picasso’s Les Demoiselles d’Avignon: The precedent of the Sleeping Hermaphroditus sculpture

Karen L. Schiff

123-138
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Mary of Magdala, the Emotional and Passional Portrayal of the Feminine in Picasso’s Crucifixions

Paulina Liliana Antacli

139-152
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Cuadro Flamenco (1921) by the Ballets Russes, a Genuinely Spanish Performance with Scenography and Costumes by Pablo Picasso

Ángeles Cruzado Rodríguez

153-164
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