![]() Johnson, J., Alahi, A., Fei-Fei, L.: Perceptual losses for real-time style transfer and super-resolution. Zhang, H., Dana, K.: Multi-style generative network for real-time transfer (2017). In Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition, pp. 35(4), 129 (2016)Ĭhen, D., Yuan, L., Liao, J., Yu, N., Hua, G.: Stylebank: an explicit representation for neural image style transfer. Selim, A., Elgharib, M., Doyle, L.: Painting style transfer for head portraits using convolutional neural networks. Gatys, L.A., Ecker, A.S., Bethge, M.: A neural algorithm of artistic style. Jing, Y., Yang, Y., Feng, Z., Ye, J., Yu, Y., Song, M.: Neural style transfer: a review. 23(6), 16–19 (2003)Īrpa, S., Bulbul, A., Capin, T., Ozguc, B.: Perceptual 3D rendering based on principles of analytical cubism. Seitz, S.M., Kim, J.: Multiperspective imaging. Zheng, Y., Nie, X., Meng, Z.-P., Feng, W., Zhang, K.: Layered modeling and generation of Pollock’s drip style. Zhang, K., Harrell, S., Ji, X.: On the complexity of computer-generated paintings. In: IEEE/ACIS International Conference on Computer and Information Science, pp. Tao, W., Liu, Y.X., Zhang, K.: Automatically generating abstract paintings in Malevich style. Long, X.: Design and Implementation computer-generated brush strokes for painting. Maciejewski, R., Isenberg, T., Andrews, W.M., Ebert, D.S., Sousa, M.C.: Measuring stipple aesthetics in hand-drawn and computer-generated images. In: Conference on Computer Graphics and Interactive Techniques, pp. MIT Press, Cambridge (2006)Ĭurtis, C.J., Anderson, S.E., Seims, J.E., Fleischer, K.W., Salesin, D.H.: Computer-generated watercolor. In: SIGGRAPH Asia 2016 Posters, ACM, Article 53 (2016)įishwick, P.: Aesthetic Computing, vol. Lian, G., Wang, Y., Zhang, K., Yao, L.: An attempt in modeling Picasso’s cubism style. Sichuan Arts Publishing House, Chengdu (1978) Osborne, H.: Abstract and Skills in 20th Century’s Art, p. People Art Publishing House, Beijing (2002) 15 to May 9, 2004.Xuemei, Y.: Picasso Art Theory. It will then appear at the Nasher Sculpture Center in Dallas from Feb. 'Picasso: The Cubist Portraits of Fernande Olivier' is at the National Gallery of Art in Washington, D.C., until Jan.Here, Picasso has rendered the long- suffering Olivier in gemlike facets that reveal the human face as a new kind of structure: that of startling artistic possibility. "Seated Woman," pictured here, shows Picasso's developing Cubist technique, a technique brought to its logical extreme in the work he did with fellow artist Georges Braque in Paris. "I paint forms as I think them, not as I see them," Picasso said. The paintings themselves, however, are complex. To realize that the label is something of a misnomer and that the cube - although it may be present in some pictures - is not the building block of "Cubism," is a good place to start.Ĭubist pictures are based on the plane, the simplest geometrical surface. "When we invented Cubism," Picasso said of the intuitive evolution the technique, "we had no intention whatever of inventing Cubism."Ĭubism often bewilders and alienates viewers. #Cubism portrait seriesThe sweep of the series provides insight as to how he began to see form, take figures apart into their geometric constituents, and render multiple perspectives simultaneously. Picasso created the artworks over a 10-month period in 1909. Most of the 52 works of art in the exhibit - which culminates in an important bronze Cubist bust of Olivier, Picasso's first great love - were last together in his studio at Horta de Ebro, Spain. It reveals how conventional notions of beauty and aesthetics fell away as Picasso ventured more deeply into a new way of seeing and rendering the human figure that was later given the somewhat misleading label "Cubism." This compact, in-depth exhibition of portraits of Fernande Olivier - assembled for the first time in a show at the National Gallery of Art in Washington, D.C. To see this series of Cubist portraits by Pablo Picasso is to witness the re-creation of the birth of one of modern art's most significant movements. ![]()
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