Picasso according to Freud

Abstract

After his brilliant invention of Cubism and collage, Picasso began incorporating Neo-Classical style and motifs, especially from Ingres. This turn led to the perceived deterioration of his work during 1920. The concept of reaction formation has been used to explain how Picasso's professed horror of photography operated to incorporate the very photographic-like technique, such as hardened contours and mechanical repetition. This explanation will be evidenced with many accounts, ranging from Picasso's closest intimates to literary and art luminaries.

Keywords:

• art
• creativity
• Picasso
• Cubism
• collage
• pastiche
• reaction-formation

Notes

¹“Picasso et les Maitres” (2008), Musee du Louvre, exhibition.

²This was in the context of the exhibition and catalogue, Je suis le Cahier, Arnold Glimcher, ed; New York: the Pace Gallery, 1986.

Additional information

Notes on contributors

Rosalind E. Krauss

Rosalind E. Krauss PhD is university professor in the Department of Art History at Columbia University, holder of the Meyer Schapiro Chair in Modern Art and Theory (1995–2006) and author of The Picasso papers (1998) and many other publications on Modernist and Post-Modernist art, and is curator of many international exhibits at Centre Georges Pompidou, the Guggenheim Museum, and others