DOS Iconophagic synchrony: Picasso and pompeian images on the origins of the Ballet Parade (1917)

Authors

  • Rafael Jackson-Martín Universidad de Puerto Rico

DOI:

https://doi.org/10.34024/imagem.v4i1.19450

Keywords:

Picasso, Pompeii, Cubism, Roman art, anachronism

Abstract

Having in mind Picasso’s inspiring trip to Italy and, especially, his visit to Pompeii and the Museo Nazionale di Napoli –nowadays, Museo Archeologico Nazionale–, the purpose of this text is to review the dialogue between Picasso and some of the Roman artworks that he could see in both places, especially their exploitation in the openly cubist elementos inherent to the ballet Parade and his painting Harlequin and Woman with Necklace (both from 1917). In this way, those artworks offered him new possibilities, which would be explored from his modern point of view and his cubist spirit, attending to the needs and anxieties of his artistic project.

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Published

2024-09-03

Issue

Vol. 4 No. 1 (2024): Art and Archeology of Pompeii

Section

Thematic Dossier

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Copyright (c) 2024 Rafael Jackson-Martín

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How to Cite

Jackson-Martín, R. (2024). DOS Iconophagic synchrony: Picasso and pompeian images on the origins of the Ballet Parade (1917). Imagem: Revista De História Da Arte, 4(1), 96-122. https://doi.org/10.34024/imagem.v4i1.19450