Published in Trebuchet Magazine
This autumn, acclaimed art historian T. J. Clark has been travelling round London giving talks about his latest book ‘Picasso and Truth: From Cubism to Guernica’. In this book Clark concentrates on the artwork Picasso produced during the 1920s, which has been considered not to be the artist’s best period. Indeed, Greenberg calls the results of this artistic epoch a failure of nerve. Other scholars have criticised Picasso’s art at this time in terms of its ‘brightness’, condemning it as overdone. Clark conveyed that he wanted to re-address the 1920s because it is neglected and misunderstood – a motive that fits well with his well-known desires to re-address the methodologies and focuses of the history of art in a new type of Social Art History.
Clark concentrates on three particular paintings in his central chapters. The first, ‘Guitar and Mandolin on a Table’ 1924, which he renames ‘Still Life in Front of a Window’, is the largest still life Picasso ever did. Next to be considered is ‘The Three Dancers’ made in 1925 – a painting Picasso said was his best, or better than ‘Guernica’. This is renamed as ‘Young Girls Dancing in Front of a Window’ in Clark’s book. The last central painting addressed is ‘The Painter and His Model’ 1927, which is by far the least well-known work of the three. The renaming of the paintings to locate the subject matter within rooms and to include window references is important for Clark’s argument, as I hope to illustrate later. Continue reading