Georges Braque

The complete prints of Georges Braque is the only comprehensive catalogue raisonné of the graphic works of the painter. Appearing 36 years after the well known work of Dora Vallier (Braque: The Complete Graphics and Braque: L’oeuvre gravé, both of 1982), this book of over 560 pages provides innumerable improvements over that classic. If the Vallier contained 192 entries covering over 300 prints, this new catalogue has 1014 prints, including dozens of new states ignored by or unknown to Vallier and other experts. It adds categories ignored by previous reviews, like pochoirs and lithographs of interpretation, the later including the best Braque lithographs ever. And it includes color photographs of all but a few of the prints described.

What Orozco did with his Picasso Lithographer and Activist was to comment and explain the lithographic work of the Málaga painter, which had been properly catalogued by Bernd Rau in 1988 and Felix Reuße in 2000, improving Fernand Mourlot’s catalog and bringing the number of lithographs and states from 407 to 777 (Rau) and 861 (Reuße). In the case of Braque, however, Orozco is doing what Rau and Reuße did with Picasso, i.e., to build a complete repertory of all Braque prints, including those already known and those he has unearthed in world galleries and auction sales in his 25 years experience as a collector and amateur.

Bu çalışma; Empresyonizm, Kübizm, Sürrealizm ve Ekspresyonizmde resimsel anlamda tarz olarak soyutlama
evresine geçişi konu almıştır. Bu çalışma, nitel araştırma modeli tekniği kullanılarak oluşturulmuştur. Yapılan
çalışma ile bağlantılı kaynaklar taranarak konunun desteklenmesi sağlanmıştır. Böylece araştırmanın yöntemi alan
yazı taraması biçimindedir. Çalışmanın amacı, sanatçılar için en büyük ilham kaynağı olan doğayı sanat eserlerine
direkt olarak aktardıkları dönemden eserlerinde soyutlama yaparak doğayı deforme ve stilize ettikleri dönemin
aşamalarını incelemek olmuştur. Bu geçiş evresi, Orta Çağ’ın sona ermesiyle ve Rönesans döneminin başlangıcıyla
birlikte olmuştur. Ardından Empresyonizm, Kübizm, Sürrealizm ve Ekspresyonizm gibi akımların ortaya çıkması
ile birlikte sanatçının resimsel ifade biçimi daha çok bireyselleşmeye başlayarak özgün bir yorum kazanmıştır.
Bu çalışma ile sanatçıyı, resimsel ifade biçimi olarak soyutlamaya iten gücün, doğanın ötesinde sanatçının düşsel algısı
olduğu düşüncesi ortaya konulmaya çalışılmıştır. Ayrıca bu çalışmada soyutlamanın, doğa ile düş nesnesi arasındaki
farklılıkların görüntüye bürünmüş hali olduğu düşüncesi ve doğanın gerçekliği ile sanatçının içsel gerçekliği arasındaki
çatışmanın ürünü olduğu yargısı öne sürülmektedir. Araştırmalar çerçevesinde ulaşılan sonuç, Empresyonist, Kübist,
Sürrealist ve Ekspresyonist sanatçıların sanat eseri üretirken dış gerçekliği kendi iç gerçekliğine dönüştürdüğüdür.
Buna bağlı olarak sanatçı, zaman içerisinde doğanın kendisine sunduğu alışılmış ve sıradan görüntüden uzaklaşarak
doğadan aldığı ilham ile kendi düş dünyasında kurguladığı görüntüyü sanat eserine yansıtma gayreti gütmektedir.
Böylelikle eserlerine yansıttığı dış dünyaya ait nesne oluşumlarını soyutlama yaparak yeniden anlamlandırmaya çalışır.
Anahtar kelimeler: Soyutlama, Resim Sanatı, Sanatsal Tavır.
Abstract
This work; in pictorialism and style in Impressionism, Cubism, Surrealism and Expressionism, the subject is the
transition to abstraction. This study was developed by using qualitative research model technique. Resources related
to the study were scanned to support the subject. Thus, the method of the research is in the form of field text scanning.
The aim of the study was to examine the stages of the period in which they deformed and stylized nature by
abstraction in their works from the period in which they transferred nature directly to the works of art, which is the
greatest source of inspiration for the artists. This transitional phase coincided with the end of the Middle Ages and the
beginning of the Renaissance. Then, with the emergence of movements such as Impressionism, Cubism, Surrealism
and Expressionism, the artist’s artistic expression became more individualized and gained an original interpretation.
With this study, it is tried to put forward the idea that the power that pushes the artist to abstract as a form of
pictorial expression is the imaginary perception of the artist beyond nature. In this study, it is argued that abstraction
is the product of the conflict between the reality of nature and the artist’s inner reality. The result of the
research is that Impressionist, Cubist, Surrealist and Expressionist artists transform the external reality into their
own inner reality while producing works of art. As a result of this, the artist strives to reflect the image he has
created in his dream world to the work of art by getting away from the ordinary and ordinary image that nature
presents to him in time. In this way, he tries to re-interpret the object formations of the outer world by abstraction.
Key words: Abstraction, Painting Art, Artistic Attitude.

This essay is on pottery as art and archaeology and the role of touch and how we view pottery as artists, archaeologists and as viewers in the gallery or museum. To make pottery, the potter needs to touch and shape clay by hand. The potter uses fire to set those shapes and decoration for all time. People who use pottery touch the object in different ways depending on its purpose. The archaeologists who recover pottery from their sites, touch pottery to recover, conserve and interpret finds. The pottery on display in museums or art galleries moves against the very nature of pottery as storage vessels, serving dishes or cooking vessels and usually cannot be touched.

The contradictions and tensions in Carl Einstein’s last art publication are evident already in its title, Georges Braque. For as he wrote a friend, “The Braque book is of course not a book about Braque.” Yet, with illustrations of 102 works by Braque, a separate luxury edition with two original etchings signed by the artist, Georges Braque certainly looked like a monograph, and a fancy one at that. But its contents validate Einstein’s remark—the book is in truth a patchwork affair that sends mixed messages about the fate of art in modernity. Janus-faced, it comprises both the final statement of Einstein’s utopian vision and intimations of its imminent collapse.

Part of the conference Deep Time and Crisis, c. 1930

This is volume 5 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to books and portfolios including lithographs and etchings by several artists, e.g., Picasso, Miró, Chagall, Braque, etc. It also contains an introduction to the revue 'Verve',  printed in Paris but published by Tériade and the Hearst Corporationin the U.S. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

A un secolo di distanza, questo libro volge lo sguardo a uno tra i grandi protagonisti delle avanguardie artistiche. La produzione di Léger, negli anni cruciali prima del conflitto mondiale, è setacciata in maniera capillare: non solo i capolavori acclamati, ma anche le opere considerate “minori”. Tra queste, la fitta produzione di disegni è stata riordinata nel suo complesso, per la prima volta. Da tale prospettiva è stato possibile seguire il percorso sperimentale che ha condotto ai grandi dipinti, svelandone motivazioni spesso trascurate. Ma la trattazione non si limita al dialogo a due con l’autore prescelto: al contrario si dà un impianto corale, che coinvolge la vasta rete di relazioni che legano Léger ai compagni dell’avanguardia. Ne risulta una rilettura del cubismo in senso lato, nelle sue connessioni con le tendenze pittoriche internazionali e con gli operatori di altre discipline, quali i poeti, i filosofi, i compositori musicali. Il tutto è condotto con rigore e chiarezza d’esposizione, in riferimento costante alle fonti e agli studi storiografici, da quelli ormai classici ai più recenti.

Picasso lithographer and activist is a revised English language version of the book Picasso litógrafo y militante, (WorldCat No. 952991448), published by the Picasso Foundation, Málaga, in 2016. It  is the first commented catalogue raisonné of Picasso litographs. The book enumerates practically all Picasso lithographs, illustrating most of them and explaining why or how they were made. It also reveals for the first time the reasons and circumstances of Picasso’s lithographic career, overcoming the painter’s attempts to hide the facts, and particularly Georges Braque’s role in the introduction. It also uncovers a formerly unknown new aesthetics developed by Picasso for years, and his motivations to do it: to mock the Communist Party and its pressure on the painter to adopt socialist realism. The aesthetic starts with the catalog of arbitrary signs contained in the 125 lithographs of the book Le Chant des Morts, and its best known oil painting examples are the two versions of La Cuisine.

This is volume 4 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Georges Braque. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

This is an updated and richly illustrated version of the book Picasso Litógrafo y Militante published by the Picasso Foundation, Málaga, in 2016 (WorldCat No. 952991448). The book is the first commented catalogue raisonné of Picasso litographs. The book revealed for the first time the reasons and circumstances of Picasso’s lithographic career, overcoming the painter’s attempts to hide the facts, and particularly Georges Braque’s role in the introduction. It also uncovers a formerly unknown new aesthetics developed by Picasso for years, and his motivations to do it: to mock the Communist Party and its pressure on the painter to adopt socialist realism. The aesthetic starts with the catalog of arbitrary signs contained in the 125 lithographs of the book Le Chant des Morts, and its best known oil painting examples are the two versions of La Cuisine.

This is the original 2016 Picasso Foundation edition of the book Picasso Litógrafo y Militante (WorldCat No. 952991448), the first commented catalogue raisonné of Picasso litographs . The book reveals for the first time the reasons and circumstances of Picasso’s lithographic career, overcoming the painter’s attempts to hide the facts, and particularly Georges Braque’s role in the introduction. It also uncovers a formerly unknown new aesthetics developed by Picasso for years, and his motivations to do it: to mock the Communist Party and its pressure on the painter to adopt socialist realism. The aesthetic starts with the catalog of arbitrary signs contained in the 125 lithographs of the book Le Chant des Morts, and its best known oil painting examples are the two versions of La Cuisine.

Critic, poet, and translator, Ivan Aksenov was a remarkable representative of the Russian avant-garde but his life and works long remained forgotten. This book of essays by authors from nine different countries sheds light on the writer's extraordinary contribution to Russian culture.  – Поэт, критик и переводчик Иван Александрович Аксенов был замечательным представителем русского авангарда, но его жизнь и творчество долгое время оставались в тени. В этой книге исследователи из девяти стран освещают выдающийся вклад писателя в русскую культуру.

Los nuevos sentidos estéticos que el arte ha ido adquiriendo hasta presentarse tal y como lo conocemos ahora, son producto de una constante mutación de formas y materiales empleados como códigos por los artistas para comunicar un mensaje a un público. Esto supone la intervención de aspectos técnicos, intelectuales y sociales según Francastel, P. (1998). Partiendo de este precepto este articulo intenta situar al cubismo entre las categorías de la Pintura de historia y el Arte Conceptual.

This paper discusses several aspects of the “art des masses” concept that flourished in Paris during the Popular Front years (1936–1938) and the contribution of three of the most important Parisian art magazines to the establishment of a visual imagery: Cahiers d'art, Minotaure, and Verve. These magazines addressed in each case the ideological and formalist concerns of their editors in respect to the contemporary discussions on the place of the artist in society, the leftist anti-capitalist discourse against social inequality, and the Popular Front cultural policy as reflected in the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne. Discussing the period of the 1930s, it is pertinent to consider the conditions of artistic production during the Great Depression along with the sociopolitical turmoil that the rise to power of Adolf Hitler (1889–1945) and Joseph Stalin's (1878–1953) dominion in the Union of Soviet Socialist Republics reinforced. Focusing on Verve magazine, this article seeks to identify the factors that led this publication to put into practice, as early as 1937, the idea of a “museum without walls” that André Malraux (1901–1976) would explore on a theoretical level during the following decades and the editorial lines that this luxurious art magazine adopted in reference to the developments in the artistic and intellectual spectrum only a few years before the outbreak of World War II.

The circle of Czech, German, and Jewish artists who called themselves the Eight, ‘Osma’ in Czech and ‘Die Acht’ in German, played a foundational role in the development of modernism in Prague before the First World War.  Drawing on new archival, textual, and visual sources, this monograph presents a detailed analysis of the group’s artistic production and activities, paired with a close examination of the social and cultural context in which the Eight formed and operated.  Tracing the shared practices, beliefs, and concerns that brought the Eight together, it considers aspects of the group's history that have not yet been fully documented in scholarship.  In particular, the book examines the relationship that the Eight had with the public, critics, and institutions of Prague, and the reception that the group garnered from audiences and the press.  It also investigates the mixed ethnic composition of the Eight, which voluntarily brought together artists of both Czech and German identity, Christian as well as Jewish, openly challenging the historically embedded national divisions that dominated artistic and cultural life in Prague before the war.

Il presente album è riservato a scopi scientifici e didattici, senza alcuna finalità di lucro: qualsiasi altro utilizzo non è autorizzato. Secondo il comma 1-bis dell’articolo 70 LdA del gennaio 2008 della Repubblica Italiana: “E’ consentita la libera pubblicazione attraverso la rete Internet, a titolo gratuito, di immagini e musiche a bassa risoluzione o degradate, per uso didattico o scientifico e solo nel caso in cui tale utilizzo non sia a scopo di lucro”.

Georges Braque was a master of trompe l'oeil effects and this is most evident in his work of 1914 just before he was drafted into WWI service. His "lost" 3-d collage of 1914, which exists only in a single photograph, may be his most deceptive achievement, and in fact may not be a 3-d piece at all.

Vincent Kramar is now known to the wider public primarily as a nestor of Czech art history of the 20th century. Art historian, theoretician, art critic, director-emeritus of the Gallery of the Society of Patriotic Friends of Art, the predecessor of today's National Gallery in Prague, even a professionally trained painter, but also, in terms of further development in our home environment, an exceptionally influential private collector. Kramář's starting-point as a collector and professional art historian, was quite exceptional in Czech cultural space these days. The study focuses on the fate of his extraordinarily valuable and influential collection of early French Cubism in the communist Czechoslovakia of the turn of 1950s and 1960s.

Braque, Picasso – Cubist Incentives for my Printmaking Works
In this thesis, I will try to outline the development of my own printmaking work, through the presentation of two key authors of the early twentieth century. Through the analysis of some of Picasso and Braque's works, I will compare to my own printmaking prints, and come to understanding of changes in transformation in Cubism, and briefly presented the lithographic process, which I use.
In my current work, partly due to my own tendencies and partly because of good mentoring, there was slow moving and allusion to the dominant period of the early twentieth century, Cubism. On a journey to Cubisim, fauvism, collage of different variants, I was led by good books full of various authors reproductions by Picasso, Matisse, Braque, Rembrandt, Holbein, etc.
The sequence of my graphic creation takes place in such a way that begins with the imitation of reality self-portrait and further away in assembling still lifes to imitation and thus trying to understand each line and to endure in different theme and different techniques. With the help of realistic imitation, I am moving away to imaginary, not strictly separate, but intertwined with each other, such as random objects in a still life, which I establish a dialogue with an artist George Braque.

Examines the December 1914-January 1915 exhibition of Picasso and Braque's work at Alfred Stieglitz's 291 Gallery.  As the first New York exhibition of 1912-13 Cubism, with its new combination of a spare linear scaffolding and collaged elements, this elicited a mixed reception from New York critics, some incredulous, others surprisingly perceptive about the artists' goals.

Jean Siméon Chardin, Gustave Caillebotte, Vincent van Gogh, Georges Braque et Jacqueline de Jong comptent parmi les nombreux artistes ayant pris pour motif les scènes de billard. D’abord pratiqué dans les salons de l’aristocratie européenne avant de gagner les intérieurs bourgeois et les troquets du XIXe siècle, ce jeu d’adresse et de hasard est à l’origine d’une iconographie aussi riche qu’inattendue. Se penchant sur l’histoire visuelle et sociale de ce loisir à travers les arts et l’imagerie populaire, l’auteur décrypte l’évolution de ses représentations et dresse un corpus d’œuvres incitant à penser l’histoire de l’art comme un « jeu de position » en perpétuelle reconfiguration, selon une expression forgée par Michael Baxandall. En résulte un essai intentionnellement joueur, dans lequel chaque exemple se laisse librement caramboler par un autre, offrant matière à diverses réflexions sur la tenue des corps, les rapports de classe et de genre, ou encore la surprenante emprise de la table au tapis vert sur les artistes.

Si considera qui con rinnovata attenzione la produzione matura e tarda di Braque, caratterizzata dall’affermarsi di un orientamento ideografico o pittografico, per cui, nella visione di Braque, arti figurative e poesia acquistano tratti morfologici comuni. Sono gli anni in cui egli inizia a riprodurre incessantemente una ristretta serie di motivi, un alfabeto fantastico fatto di pochi lemmi (gli uccelli, l’auriga, la coppia di amanti, il pesce, il vaso…), replicati e perfezionati alla ricerca di una semplicità ultima e definitiva.

Nei saggi del catalogo Electa, firmati da Michele Dantini e Markus Müller (insieme alla prima traduzione italiana di un celebre saggio dedicato a Braque del grande storico dell’arte inglese Michael Baxandall e a una ricca antologia di ulteriori testi, inediti in italiano), sono ricostruite le relazioni tra Braque e gli artisti, da una parte della sua generazione, dall’altra della generazione più giovane, incluso Duchamp.

Infine, in occasione della mostra, l’artista Flavio Favelli reinterpreta la «Scultura in carta» installata da Braque in studio nel febbraio del 1914, fotografata al tempo e poi andata distrutta.

"Cubism constitutes one of the greatest revolutions in the history of Western art, on a par with the one launched at the beginning of the fifteenth century by two other young artists, in another booming economic and cultural center permitting radical innovations within the realms of the arts and sciences..."

http://www.caareviews.org/reviews/2611

L'avventura sinestetica di Satie, nata in clima simbolista, attraversa come una meteora il cubismo e l'orfismo, riemergendo in una veste dada e surrealista. Sullo sfondo della Parigi della Belle Époque Satie tesse una fitta rete di legami con i poeti, i pittori, i cineasti del suo tempo.

Фонд Маг – первый во Франции частный фонд, посвящённый модернизму и современному искусству. Вместе с каталонским архитектором Жозепом Луисом Сертом над проектом работали крупнейшие мастера международного модернизма – Жорж Брак, Жоан Миро, Альберто Джакометти. Каждый из трёх художников создал на территории Фонда собственное пространство, в котором специфическим образом сочетаются архитектура, ландшафт, скульптура и монументальное искусство. В основу общей композиции легла традиционная для Средиземноморья ностальгия по античной культуре, в частности – обращение к крито-микенской цивилизации и связанному с ней мифу о лабиринте Минотавра. // Fondation Maeght is the first private foundation in France dedicated to modern and contemporary art. Along with Catalan architect Josep Lluís Sert, three famous modern artists worked on the project – Georges Braque, Joan Miró, and Alberto Giacometti. Each of them created a personal space on the premises of the foundation, where architecture, landscape, sculpture and monumental art interact in a specific way. The general composition is based on the traditional Mediterranean nostalgia for the culture of Antiquity and, in particular, the Minoan civilization and its core myth about the Minotaur's labyrinth.

https://youtu.be/U7OVxyL-z68. “Cubist Architecture: The Villa Savoye” presents cubist principles of Le Corbusier’s 1928-31 house, such as the conceptual modernity of a “machine to live in,” light coming from multiple sources that are not readily identifiable, and the “free plan” that brings a playful inside/outside ambiguity. Moving around the ramp is like walking into an architectural collage, where the visitor can participate in the cubist experience at leisure.
The film is based on a chapter of May Spangler’s book, “Paris in Architecture, Literature, and Art” (New York: Peter Lang, 2018).

Grounded in everyday experiences of modernity, Cubist pictorial investigations – initiated and carried out by Georges Braque and Pablo Picasso in Paris through a close collaboration that lasted from 1907 to 1914 - challenged representational models of visual communication as well as the relationship between art and life. Informed by these issues, this essay scrutinizes the interconnectedness of the Cubist still life with the private interior, particularly favoring the vantage point of the nineteenth century private interior. In doing so, it contests the still prevailing notion of Cubism as a modernist art form positioned outside the domestic realm.

Dans cet article, nous analysons les travaux de Picasso et Braque à travers le prisme de la créativité publicitaire et de l'avant-garde en Europe et à Paris en particulier pendant les années suivant la Belle Epoque, de telle façon qu’ils nous aident à comprendre les influences qu’ils ont eu sur la situation politique, économique, sociale et culturelle de l’époque. Nous cherchons à démontrer que, à cette époque, les deux systèmes de représentation, qui ont occupé une place très différente dans l’échelle des valeurs des artistes et des hommes d'affaires, se sont finalement rapprochés jusqu’à la fusion de certains concepts. Nous montrons ainsi, à travers notre travail, que les influences réciproques des réalités sociales, de l'avant-garde et du concept de créativité publicitaire ont convergé en un point commun. A partir des oeuvres de Picasso et Braque dans le contexte socioculturel et économique du premier quart du XXe siècle, nous nous efforçons de démontrer comment l’art avant-gardiste a influencé le concept actuel de la créativité.

Our analysis focuses on the presence of the French poet known as Saint-John Perse in Spanish Transition poets Jaime Siles and Blanca Andreu. Saint-John Perse, as well as Siles, were inspired by a series of lithographies by Braque entitled Birds, which led both poets to meditate on the very process of creation. Saint-John Perse also left a profound mark on Blanca Andreu’s first collection of poems De una niña de provincias que se vino a vivir en un Chagall, emblematic of the impact of the French poet’s ample verse and plastic images—elements that constituted a form of liberation for Spanish poetry during the Transition.

Chapter 8 of The World as Sculpture. Looks at the rise of the cult of the worker artist, and how this transformed the nature of art, driving painters to make sculpture and 3-D paintings with impasto and collage - the tableau-objet. This culminates with Picasso and Braque's Cubist collaboration, in which their art became indistinguishable, and they wore workman's overalls.

Apre il 23 marzo a Mantova la mostra «Braque vis-à-vis. Picasso, Matisse e Duchamp», che prosegue l’attività espositiva dedicata all’arte del Novecento a Palazzo della Ragione. Curata da Michele Dantini, è promossa dal Comune di Mantova e organizzata e prodotta con la casa editrice Electa, con la partecipazione del Kunstmuseum Pablo Picasso di Münster.

Nella grande aula di Palazzo della Ragione sono presentate circa 150 opere risalenti prevalentemente al periodo tra le due guerre e al secondo dopoguerra. Grazie a un nutrito corpus di opere grafiche, insieme a libri d’artisti e ceramiche, provenienti dal Kunstmuseum Pablo Picasso di Münster, la mostra indaga l’influenza, spesso trascurata, che Braque ha esercitato sull’arte francese degli anni Sessanta e Settanta. Il percorso è arricchito da gouaches di proprietà del Musée des Beaux-Arts di Belfort, da un arazzo in lana e cotone della Cité international de la tapisserie di Aubusson e da alcuni olii provenienti da istituzioni europee, tra cui la Fondation Marguerite et Aimé Maeght di Saint-Paul-de-Vence e il Museo del Novecento di Milano. In mostra sono presenti anche opere di Matisse, Picasso, Derain, Léger e Delaunay-Terk.

L’esposizione considera con rinnovata attenzione la produzione matura e tarda di Braque, caratterizzata dall’affermarsi di un orientamento ideografico o pittografico, per cui, nella visione di Braque, arti figurative e poesia acquistano tratti morfologici comuni. Sono gli anni in cui egli inizia a riprodurre incessantemente una ristretta serie di motivi, un alfabeto fantastico fatto di pochi lemmi (gli uccelli, l’auriga, la coppia di amanti, il pesce, il vaso...), replicati e perfezionati alla ricerca di una semplicità ultima e definitiva.

Nei saggi del catalogo Electa, firmati da Michele Dantini e Markus Müller (insieme alla prima traduzione italiana di un celebre saggio dedicato a Braque del grande storico dell’arte inglese Michael Baxandall e a una ricca antologia di ulteriori testi mai apparsi in italiano), sono ricostruite le relazioni tra Braque e gli artisti, da una parte della sua generazione, dall’altra della generazione più giovane, incluso Duchamp.

Infine, in occasione di «Braque vis-à-vis», il curatore della mostra ha chiesto a Flavio Favelli, artista italiano affermato a livello nazionale e internazionale, di reinterpretare la misteriosa Scultura in carta, installata da Braque nel suo studio nel febbraio del 1914, fotografata al tempo e poi andata distrutta.

Analyzes Cézanne's role as a model for techniques of dissolving solid form, creating a new pictorial architecture, imposing a pattern on the painted surface, distorting naturalistic contours, and generating an atmosphere of metaphysical mystery.