Instruct: Given a question, retrieve documents that can help answer the question.
Query: Was Picasso a sculptor?
Many sculptors seek new ways and materials to make art. One of Pablo Picasso's most famous sculptures included bicycle parts. Alexander Calder and other modernists made spectacular use of painted steel. Since the 1960s, acrylics and other plastics have been used as well. Andy Goldsworthy makes his unusually ephemeral sculptures from almost entirely natural materials in natural settings. Some sculpture, such as ice sculpture, sand sculpture, and gas sculpture, is deliberately short-lived. Recent sculptors have used stained glass, tools, machine parts, hardware and consumer packaging to fashion their works. Sculptors sometimes use found objects, and Chinese scholar's rocks have been appreciated for many centuries.
Jacques-Louis David (; 30 August 1748 – 29 December 1825) was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity and severity and heightened feeling, harmonizing with the moral climate of the final years of the Ancien Régime.
In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although van Gogh had been influenced by great masters in the Netherlands, coming to Paris meant that he was exposed to Impressionists, Symbolists, Pointillists, and Japanese art ("see Japonism"). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese ukiyo-e artists Hiroshige and Hokusai greatly influenced van Gogh, both for the subject matter and the style of flat patterns of colors without shadow. In the two years from 1886 through 1888 he spent working in Paris, van Gogh explored the various genres, creating his own unique style.
In 1886, Van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Van Gogh entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although Van Gogh had been influenced by his cousin Anton Mauve and the Hague School, as well as the great Dutch masters, coming to Paris meant that he was exposed to Impressionism, Symbolists, Pointillists, and Japanese art ("see Japonism"). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese printmakers Hiroshige and Hokusai greatly influenced Van Gogh, both for the subject matter and the style of flat patterns of colors without shadow. In the two years from 1886 through 1888 he spent working in Paris, Van Gogh explored the various genres, creating his own unique style.
Eli Harvey (September 23, 1860 – February 10, 1957) was an American sculptor, painter and animalier. Harvey was born in Ogden, Ohio, a Quaker community in Clinton County, to William P. and Nancy M. Harvey. He attended art school in the Cincinnati Art Academy where he studied painting with Thomas Satterwhite Noble and sculpture with Louis Rebisso. In 1889 he moved to Paris where he continued his studies, with Lefebvre, Constant, Doucet and finally Frémiet. In 1897 he began exhibiting sculptures of animals at paris salons and continued doing so until returning to the United States in 1900, by which time he was "firmly committed to animal sculpture."
Other Paris artists took part in the war; the poet Guillaume Apollinaire, for example, went into the army and was seriously wounded in 1916. While recovering in Paris, he wrote "Les Mamelles de Tirésias" and coined the word Surrealism in the program notes for Jean Cocteau and Erik Satie's ballet "Parade". He also published an artistic manifesto, "L'Esprit nouveau et les poètes". The war-weakened Apollinaire died of influenza during the Spanish Flu pandemic of 1918 and was interred in the Père Lachaise Cemetery.
The features of the face are represented by the plucked carcasses of poultry and the sneering mouth by fish. It is not known if the subject is a caricature of the legal profession in general or based on a real jurist of the time. The German jurist Ulrich Zasius is normally suggested as the subject; the Nationalmuseum lists the picture in its catalogue as "The Lawyer (Ulrich Zasius)", but Calvin has also been suggested. Arcimboldo's portrait of "The Librarian" ("Il Bibliotecario"), painted the same year, has a more noble aspect, although this portrait too has been interpreted as a parody of librarianship, book collectors, and intellectualism.
At the 1912 Salon des Indépendants Albert Gleizes exhibited "Les Baigneuses (The Bathers)" (no. 1347) — Marcel Duchamp's "Nude Descending a Staircase, No. 2" was listed in the catalogue (n. 1001) but was withdrawn prior to the exhibition — Roger de La Fresnaye exhibited "Artillerie" (no. 1235) — Robert Delaunay showed his monumental "Ville de Paris" (no. 868) — Jean Metzinger exhibited "La Femme au Cheval (Woman with a horse)" and "Le Port" — Fernand Léger showed "La Noce" — Henri Le Fauconnier, "Le Chasseur (The Huntsman)" — and the newcomer Juan Gris exhibited his "Portrait of Picasso".
While the academic painters dominated the Salon, new artists and new movements rose to prominent prominence under Napoleon III. 
Gustave Courbet (1819–1872) was the leader of the school of realist painters during the Second Empire who depicted the lives of ordinary people and rural life, as well as landscapes. He delighted in scandal and condemned the art establishment, the Academy of Fine Arts, and Napoleon III. In 1855, when his submissions to the Salon were rejected, he put on his own exhibit of forty of his paintings in a nearby building. In 1870, Napoleon III proposed giving the Legion of Honour to Courbet, but Courbet disdainfully rejected the offer.
Michelangelo Merisi (Michele Angelo Merigi or Amerighi) da Caravaggio (, , ; 28 September 1571 – 18 July 1610) was an Italian painter active in Rome, Naples, Malta, and Sicily from the early 1590s to 1610. His paintings combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, which had a formative influence on Baroque painting.
Other sculptors with more enduring fame were François Rude, who made his celebrated "La Marseillaise" sculpture (formally known as "The departure of the volunteers"), a ten-meter high bas-relief for the Arc de Triomphe (1833-36), a project begun by Napoleon and completed by Louis Philippe. Rude also made the romantic "Napoleon awakening to immortality" in 1845-47. This illustrated popular movement to restore the reputation of Napoleon and the revolutionary spirit, which had been suppressed under the Restoration, but which reappeared with the return of the ashes of Napoleon to France under Louis Philippe. The Napoleonic spirit emerged triumphant in the 1848 Revolution, and the election of Napoleon III as the first President of France.
Degas's only showing of sculpture during his life took place in 1881 when he exhibited "The Little Dancer of Fourteen Years". A nearly life-size wax figure with real hair and dressed in a cloth tutu, it provoked a strong reaction from critics, most of whom found its realism extraordinary but denounced the dancer as ugly. In a review, J.-K. Huysmans wrote: "The terrible reality of this statuette evidently produces uneasiness in the spectators; all their notions about sculpture, about those cold inanimate whitenesses ... are here overturned. The fact is that with his first attempt Monsieur Degas has revolutionized the traditions of sculpture as he has long since shaken the conventions of painting."
Like his contemporaries Frank Lloyd Wright and Mies van der Rohe, Le Corbusier did not have formal academic training as an architect. He was attracted to the visual arts and at the age of fifteen he entered the municipal art school in La-Chaux-de-Fonds which taught the applied arts connected with watchmaking. Three years later he attended the higher course of decoration, founded by the painter Charles L'Eplattenier, who had studied in Budapest and Paris. Le Corbusier wrote later that L'Eplattenier had made him "a man of the woods" and taught him painting from nature. His father took him frequently into the mountains around the town. He wrote later, "we were constantly on mountaintops; we grew accustomed to a vast horizon." His architecture teacher in the Art School was the architect René Chapallaz, who had a large influence on Le Corbusier's earliest house designs. However, he reported later that it was the art teacher L'Eplattenier who made him choose architecture. "I had a horror of architecture and architects," he wrote. "...I was sixteen, I accepted the verdict and I obeyed. I moved into architecture."
He was born at Pressano, in Tyrol, in 1736. He studied under Lorenzoni, an Italian artist and after travelling in Italy, Germany, Hungary, and France, he settled at Burghausen. estimated that della Croce painted 5000 portraits and 200 historical pictures. There are many altar-pieces painted by him in the churches of Bavaria. He died in 1819. His son, Clemens de La Croce, who was also a painter, was born at Burghausen in 1783 and died in 1823.
This set the tone for a glittering series of important exhibitions, such as the "Première Exposition d’Art Nègre et d’Art Océanien", organized by Paul Guillaume, 13–19 May 1919, with a catalogue by Henri Clouzot and additional text by Guillaume Apollinaire. Apollinaire, who died the previous year, had collaborated with Paul Guillaume on the pioneering study "Sculptures Nègres" in 1917. This exhibition – drawn from Guillaume's private collection - placed African art at the heart of Modernism.
Artists exhibiting at Galerie Devambez included Mary Cassatt, Armand Guillaumin, Claude-Oscar Monet, Pierre-Auguste Renoir, Auguste Marquet, Paul Signac, Raoul Dufy, Maurice de Vlaminck, Henri Matisse, Georges Braque, Pablo Picasso, Amedeo Modigliani, Tsuguharu Foujita, and Giorgio de Chirico.
Jacques-Louis David was born into a prosperous French family in Paris on 30 August 1748. When he was about nine his father was killed in a duel and his mother left him with his well-off architect uncles. They saw to it that he received an excellent education at the Collège des Quatre-Nations, University of Paris, but he was never a good student-- he had a facial tumor that impeded his speech, and he was always preoccupied with drawing. He covered his notebooks with drawings, and he once said, "I was always hiding behind the instructor's chair, drawing for the duration of the class". Soon, he desired to be a painter, but his uncles and mother wanted him to be an architect. He overcame the opposition, and went to learn from François Boucher (1703–1770), the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, and the fashion for Rococo was giving way to a more classical style. Boucher decided that instead of taking over David's tutelage, he would send David to his friend, Joseph-Marie Vien (1716–1809), a painter who embraced the classical reaction to Rococo. There, David attended the Royal Academy, based in what is now the Louvre.
Salvador Dalí, famous for his surrealist work, painted "Self portrait as Mona Lisa" in 1954. In 1963 following the painting's visit to the United States, Andy Warhol created serigraph prints of multiple "Mona Lisa"s called "Thirty are Better than One", like his works of Marilyn Monroe ("Twenty-five Coloured Marilyns", 1962), Elvis Presley (1964) and Campbell's soup (1961–62). The "Mona Lisa" continues to inspire artists. A French urban artist known pseudonymously as Invader has created versions on city walls in Paris and Tokyo using a mosaic style. A collection of "Mona Lisa" parodies may be found on YouTube. A 2014 "New Yorker" magazine cartoon parodies the supposed enigma of the "Mona Lisa" smile in an animation showing progressively maniacal smiles.
David is a masterpiece of Renaissance sculpture created in marble between 1501 and 1504 by the Italian artist Michelangelo. "David" is a marble statue of a standing male nude. The statue represents the Biblical hero David, a favoured subject in the art of Florence.
The painter David Octavius Hill was present at the Disruption Assembly and decided to record the scene. He received encouragement from another spectator, the physicist Sir David Brewster who suggested using the new invention, photography, to get likenesses of all the ministers present, and introduced Hill to the photographer Robert Adamson. Subsequently, a series of photographs were taken of those who had been present, and the 5-foot x 11-foot 4 inches (1.53 m x 3.45 m) painting was eventually completed in 1866. The partnership that developed between Hill and Adamson pioneered the art of photography in Scotland. The painting predominantly features the ministers involved in the Disruption but Hill also included many other men - and some women - who were involved in the establishment of the Free Church. The painting depicts 457 people of the 1500 or so who were present at the assembly on 23 May 1843.. Jenkins, Robin "The Awakening of George Darroch", 1985 (Novel)
Puccini's next work after "La bohème" was "Tosca" (1900), arguably Puccini's first foray into "verismo", the realistic depiction of many facets of real life including violence. Puccini had been considering an opera on this theme since he saw the play "Tosca" by Victorien Sardou in 1889, when he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this "Tosca" the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."
The music of "Tosca" employs musical signatures for particular characters and emotions, which have been compared to Wagnerian leitmotivs, and some contemporaries saw Puccini as thereby adopting a new musical style influenced by Wagner. Others viewed the work differently. Rejecting the allegation that "Tosca" displayed Wagnerian influences, a critic reporting on the 20 February 1900 Torino premiere wrote: "I don't think you could find a more Puccinian score than this."
The "Little Dancer" wax sculpture we see today is a reworked version of the original sculpture that was shown in 1881. After seeing the wax sculpture in Degas’ living quarters in April 1903, the New York collector Louisine Havemeyer expressed interest in buying the wax. After proposing a bronze or cast wax of the sculpture, which Mrs. Havemeyer refused, Degas took his wax figure upstairs to his working studio and told Vollard he was reworking the sculpture for Havemeyer for 40,000 francs. Degas never sold the sculpture to Mrs. Havemeyer. After Degas died, it was found in a corner of his studio. Paul Lefond, Degas’ biographer, described the "Little Dancer" wax after Degas’ death as "nothing but a ruin;" and Mary Cassatt telegraphed Mrs. Havemeyer "Statue Bad Condition." However, the wax sculpture we know today is not a ruin. It is Degas' reworked second version of his wax figure. At some point before Degas extensively reworked his sculpture, he allowed a plaster to be cast from the wax figure. This recently re-discovered plaster records the "Little Dancer"’s original pose, bodice, and hairdo. The plaster is now in a private collection in the United States.
Bahman Mohassess (Persian: بهمن محصص) (March 1931 Rasht, Iran – 28 July 2010 Rome, Italy), dubbed by some as the "Persian Picasso", was an Iranian painter, sculptor, translator, and theatre director. His oeuvre comprises paintings, sculptures and collages. He was also a celebrated translator of literary works. His works are highly collected and extremely rare. He is said to have destroyed many of his own works, and those that become available at auction are now highly sought after.
Manolo was born in Barcelona in 1872, the son of a general who soon abandoned his child to go fight in the Ten Years' War, and of a mother who died when Manolo was still young. He was friends with Pablo Picasso and a part of the circle at the 4 Gats, and lived in Paris from 1900 to 1909, where he was one of the people welcoming Picasso and introducing him to the artistic circles of the city. He was one of Picasso’s closest friends at the Bateau Lavoir, together with people like Guillaume Apollinaire and Max Jacob.
Gauguin was celebrated by the Parisian avant-garde after the posthumous retrospective exhibitions at the Salon d'Automne in 1903 and 1906. The power evoked by his work led directly to "Les Demoiselles d'Avignon" in 1907. According to David Sweetman, Picasso became an aficionado of Gauguin in 1902 when he befriended the expatriate Spanish sculptor and ceramist in Paris. Durrio was a friend of Gauguin and held several of his works in an attempt to help his poverty-stricken friend in Tahiti by promoting his oeuvre in Paris.
In Paris he associated with the Spanish circle of artists of Montmartre, including Pablo Gargallo, Juan Gris and Max Jacob. In 1918, he developed an interest in the artistic possibilities of welding, after learning the technique whilst working in the Renault factory at Boulogne-Billancourt. This technique would subsequently become his principal contribution to sculpture, though during this period he also painted and —especially— created jewellery pieces. In 1920 he renewed his acquaintance with Picasso, for whom he later provided technical assistance in executing sculptures in iron, participating to Picasso's researches on analytic cubism. He also forged the infrastructures of Constantin Brâncuși's plasters. In the winter of 1927-28, he showed Picasso how to use oxy-fuel welding and cutting. When their friendship re-established itself, Picasso and González collaborated on a piece called "Woman in the Garden" between 1928-1930. From October 1928 till 1932, both men worked together—and in 1932, González was the only artist with whom Picasso shared his own personal art carnet. Influenced by Picasso, the fifty-year-old González deeply changed his style, exchanging bronze for iron, and volumes for lines. González began to formalize a new visual language in sculpture that would change the course of his career.