Book Illustration Research Articles

”Not a Monotonous Artist”: Graphic Works by L. A. Epple Based on D. N. Mamin-Sibiryak’s Works

This article analyses the graphic cycle of L. A. Epple created based on D. N. Mamin-Sibiryak’s works in 1946–1952. Among the artist’s works, there are both illustrations for the collection For Children (1947) and easel compositions commissioned by the writer’s memorial museum in Sverdlovsk. A professional graphic artist, Epple worked thoughtfully and consistently with the works of the writer for many years, achieving expressiveness of images and artistic accuracy. The artist’s special position (a labour soldier in Sevurallag in 1941–1945, then a special settler in Sosva and Irbit in 1946–1952) led to the fact that his creative activity during these years was unknown to specialists. The artist’s name was not mentioned in the data of the collection of Mamin-Sibiryak’s works, and his easel paintings (kept in the collection of the United Museum of Writers of the Urals) were not published. In the late nineteenth — first half of the twentieth centuries, Mamin-Sibiryak’s works were illustrated and decorated by many Ural artists (S. I. Yakovlev, A. V. Kikin, Yu. A. Ivanov, A. A. Zhukov, N. P. Golubchikov, A. A. Kudrin, E. V. Gileva, etc.), but unlike L. A. Epple, the appeal to the literary heritage of the writer was for them only a brief episode of creative activity. Epple’s art project developed within the framework of an official order, hence the stylistics convenient for the mass reader, and a set of visual images was thought out. The principle of narrative fits into the aesthetics of book illustration of the 1940s–1950s, but in Epple’s graphic compositions, there is a feeling of intimacy, softness, some idealisation, and smoothness of images. Following the traditions of his teacher D. N. Kardovsky, Epple strives for the exact choice of the scene, the expressiveness of the entire composition and each character, the elaboration of details, and tries to reveal the psychology of the main characters. Choosing a realistic manner of performance, the artist proceeds from the nature of Mamin-Sibiryak’s oeuvre, with his thoroughness and journalistic narrative, respectful attitude to historical, ethnographic, and everyday realities.

«Снежная королева» с иллюстрациями А. Ломаева: возможности креолизованного текста

In the 21st century, scholars are exploring book illustration not so much as one of the important components of a book, but as the basis of a book. In the newest culture, an attitude has been formed towards non-verbal signs of the text as the main, primary language addressed to the reader. The individuality of the artist is manifested in the fact that the same story, illustrated by different people, can become for the reader a new version of a single literary invariant. At the same time, a deep reception of an illustration requires visual literacy from the reader. The task is to overcome too simple, literal reading of the picture and isolate adequate meanings from the whole wealth of general cultural and personal experience, confirmed by the system of visual images. Many artists illustrated the fairy tale “The Snow Queen” by Hans Christian Andersen. An illustrator from St. Petersburg, Anton Lomaev (Loreta Publishing House, 2021), offered a modernized version of the fairy tale plot in illustration. The methods of visual semiotics help to interpret the signs and images of the creolized text of this book. Lomaev concretizes the conditional chronotope of Andersen’s fairy tale and transfers the plot to Europe of the 20th century. The main color in the book is blue. This color has complex semantics. On the one hand, in the fairy tale about the Snow Queen, it is the color of the Queen herself: snow, cold, ice fragments, lifelessness. Therefore, the influence of blue increases in those parts of the book where the mortal plot is more pronounced: the world of the evil troll (the beginning of the first chapter) and the world of the Snow Queen are made in blue tones. In general, the colors are in cold blue tones if the world is hostile and alien to the characters, and in warm restrained sepia tones if the space of home is depicted. On the other hand, in the world of the Snow Queen, cold is not only a physical phenomenon, but also a world of abstract rationality. The main conflict of the tale of Andersen, a deeply religious author, is the conflict between the spirit and the mind. Lomaev gives this conflict an additional perspective. The artist actualizes the change of thinking in the 20th century, from the patriarchal, organically combining spiritual and intellectual values, to the time of practical rationality, devoid of a spiritual beginning. Lomaev’s illustrations include many items of transport and military symbols (the figure of a soldier, a military uniform, cannons, a drum, aircraft, anti-tank hedgehogs, a military cruiser). Transport and signs of war are the leitmotifs that organize the illustrative series of the book, making the fairy tale plot more documentary, realistic, and tense. Thanks to the symbolic row, the artist clearly associates the Snow Queen’s palace with fascism. The illustrator’s intention is to point out that no social power is eternal. The artist makes the conflict of the fairy tale more universal, opposing the coldness of impersonal power to the warm tones of home: the image of a family, a small town, a familiar lived-in space. The author declares no conflicts of interests.

A Spotlight on Poland within the Global Tapestry of Issue 60.1

A Spotlight on Poland within the Global Tapestry of Issue 60.1 Janelle Mathis (bio) and Petros Panaou (bio) With the same hopeful anticipation that accompanies the beginning of a new year, we approach Bookbird’s 60th volume in 2022. The first issue is unique in that it offers a “Spotlight” on Poland and the rich scholarship in children’s literature that is found there, beginning with the cover illustration that reveals the visual artistry of Ewa Kozyra-Pawlak and Paweł Pawlak. Within this issue, readers find a tapestry of exemplar articles that share some of the many themes explored by Polish authors and illustrators, as well as other international articles that extend the design of this tapestry in communicating perspectives on significant issues for all. First, among the articles from Poland, is “Little Women: Contemporary Polish Novels for Girls as an Example of Engaged Literature” by Dorota Michułka. Michulka explores novels for girls that provoke discussions and shape social competencies of young readers. In “Breaking Down Taboos—LGBTQ+ Themes in Contemporary Polish Children’s and Young Adult Literature,” Mateusz Świetlicki and Sabina Waleria Świtała examine the evolution of the publishing trends of LGBTQ+-themed literature through literature written by Polish authors and translations into Polish released after 2000. Their article affirms that despite anti-LGBTQ+ discourses, the Polish book market has gradually become more progressive and inclusive. “New-Old Trends in Recent Polish Book Illustration for Children and Young Adults” by Anita Wincencjusz-Patyna shares the rich history of illustration in Polish children’s literature. Two of these illustrators, the creators of this issue’s cover, are the focus in “An Interview on a Hot Summer Day with Polish Book Creators Ewa Kozyra-Pawlak and Paweł Pawlak,” also by Anita Wincencjusz-Patyna. Yet another current topic, that of children’s books that address the issues around COVID-19, is found in Polish scholarship—“Japanese Picturebooks for Children in the Fight against COVID-19” by Marcelina de Zoete-Leśniczak. This article is a reminder of the shared global concerns for children and their understanding of COVID-19 issues. Additionally, our spotlight on Poland includes a selection in Children and Their Books—“Coming across a Difficult Past: Contemporary Polish Narratives in the Eyes of a Young Recipient in Theory and Practice” by Justyna Zając and Dorota Michułka. There are also other articles that weave international scholarship into the tapestry of this unthemed journal issue. An intriguing and important look into adult gender roles is found in “Menacing Men and Well-Meaning [End Page 1] Women: Gender-Role Allocations in English- and German-Language Narrative Picturebooks on Child Sexual Abuse” by Carla Plieth. This research points to the portrayal of men as perpetrators and women as confidants from whom the children seek help in most of the examined books on child sexual abuse. Another important topic in international literature is that of translation and the many facets involved as books are retold among diverse languages. “Constructing a New Girl in Meiji Japan: The Japanese Translation of Frances Hodgson Burnett’s Sara Crewe” by Wakako Suzuki shares one example. “Rapunzel, Rapunzel, Has Finally Let Down Her Hair! The Feminist Evolution of ‘Rapunzel’ from the Nineteenth Century to the Twenty-First Century” by Komal Tujare focuses on gender conditioning in the evolution of the Grimm Brothers’ fairy tale “Rapunzel” in the Disney animation Tangled in 2010 and as found in India as a short story by Sowmya Rajendran in 2015. Within this issue’s Authors/Illustrators and Their Books section, readers find a second interview, “The Prerogative of Human, Traditional, Green, and Dreamlike: An Interview with Violeta Dabija” by Vladimir Kravchenko, where this well-known illustrator reveals aspects of her creativity. Also, the International Youth Library shares an exhibition project in “I-Solation: Children’s Self-Portraits in the Age of COVID-19” by Dr. Christiane Raabe. We also wish to draw attention to “The Many Lives of Jella Lepman” by Anna Becchi, translated by Nikola von Merveldt, as we continue to honor Lepman’s legacy. Of course, Books on Books edited by Jutta Reusch and Postcards edited by Barbara Lehman help to keep us informed about enlightening...

Ukrainian book art: ways of formation and development

The purpose of the article is to study the development of the directions of Ukrainian book art, the formation of new creative features in the European cultural space. The research methodology consists in the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty lies in the study of book art, which has always been important in Ukrainian art. Conclusions. Today, we have a large amount of fine works in the genre of book illustrations. These works reflected both the history of the Ukrainian literature, history of the national graphic art, as well as the history of cultural progress of Ukraine in general. Thus, book art is an extremely fruitful object of study, an intersection point, where the complicated process of interaction of socio-political, spiritual, cultural and artistic and aesthetic factors is underway. Thus, Ukrainian book graphics in different periods reflected all European trends – modernism, symbolism, neo-primitive art, futurism, cubism, expressionism, constructivism, realism, surrealism, Art Deco, neoclassicism. The originality of the artistic language emerged through the use of traditional motifs and vanguard image creation tools. Keywords: research, culture, illustration, book, art, national traditions.

The Watercolor Technique in Illustrations of Children’s Books of the 1980s—2020s by Soviet and Modern Russian Artists

The article analyzes the technique of watercolor in illustrations of children’s books of the 1980s—2020s by Soviet and modern Russian artists. There is traced the influence of modern technologies on children’s book illustrations made in the watercolor technique. In the context of current artistic trends, the article examines the connections of social processes and book graphics; the features of the technical development of book design; the combination of various visual materials with the technique of “watercolor” in the conditions of information technology; new technological and technical approaches; the author’s vision of an illustrated work. The main method used is the analysis of the works of Soviet and modern illustrators of children’s books: V.V. Pertsov, N.E. Popov, A.V. Kokovkin, V.G. Britvin, V.V. Pavlova, A.A. Koshkin, E.A. Silina, Ya.M. Sedova, A.A. Desnitskaya, O. Demidova, V. Pomidor, A.Ya. Lomaev. The relevance of this topic is determined by the intensive introduction of digital technologies into book art and the transformation of the traditional watercolor technique, and the topic’s novelty is based on the lack of formulation of the mentioned issues in the context of children’s book watercolor illustration. Modern technologies make it possible to implement any creative idea of the artist, who, being able to freely interpret the literary work, is now an active participant in the creation of a book image. Absence of censorship imposes a certain responsibility for the quality of illustrations on the artist, since it affects the perception of the child. Thus, forming the aesthetic taste of the younger generation, the artist becomes a participant in the educational process.The analysis of the watercolor illustration showed that the artist is faced with a difficult task, which is associated not only with the ability to use technological and technical innovations, understand the principle of modern computer programs, reinforce the visual series with knowledge of the historical context, but also to know and understand how children’s consciousness works and how to instill good taste in a child.

Word and Image. Polish Medieval and Renaissance Religious Writings in the European Context

The article presents the Polish religious writing of the Middle Ages and Renaissance as an expression of correspondence between the word and image. It also demonstrates the impact of European graphics, including Albrecht Dürer’s woodcuts, upon Polish religious works of the period (such as the works by Pseudo-Bonaventura in his rendering of Baltazar Opec’s Żywot Pana Jezu Krysta and Jan Sandecki’s Historie biblijne or Rozmyślania dominikańskie. The article also emphasizes that it was Dürer who paved the way for the book illustration, thus turning woodcuts into an art form in their own right. The fifteenth century was a watershed in book culture. As new illustration techniques at the turn of the fifteenth and sixteenth centuries encouraged the growth of illustrated printed books, the codex became obsolete.

Evaluating Maps and Illustrations in Geography Books for the Middle Stage

This research aims to (evaluating maps and illustrations in geography books for the preparatory stage). In order to answer the research questions, the researchers prepared two tools, the first tool represented the quality standard of maps, while the second tool represented the standard of photographers, and the map tool in its final form consisted of (51) fifty-one indicators distributed on (13) thirteen basic elements of the map and a visual variable, either The graphic tool included (39) thirty-nine indicators distributed over (12) twelve criteria, and the validity was confirmed by presenting them to the arbitrators. Stability through time, stability between two analysts, so the reliability coefficient reached: for the researcher over time for the maps criterion (91%) and for the graphics criterion (93%), and the reliability coefficient between the researcher and the other analysts for the maps criterion (88%) and for the graphics criterion (90%). To analyze the data, the researcher used the statistical methods and means represented by: Cooper's equation to calculate the reliability coefficient, frequencies, arithmetic mean and standard deviation to find out the degree of availability of each indicator and each criterion. Most of them were low for these books. As for the pictorial ones (pictures and drawings), the percentage of verification in the fourth and fifth grade book was higher than what was achieved in the sixth grade book.

The Evolvement of the Israeli Grandmother – As Reflected in Children’s Book Illustrations

Gender and ageism as mirrored in illustrations of grandmothers in Hebrew children’s books (1930-2020), shed light on the Israeli reality, which shows the world’s portrayal of grandmothers as sometimes empowering and sometimes discriminatory. This article draws from the fields of the visual arts, gender studies, sociology, and culture, and emphasizes the power of illustration in children’s literature as an activistic tool for changing social and familial awareness among young receivers. The grandmother (and, recently, also the grandfather) is a popular character in children’s literature. The article will present models which shape the consciousness of children’s book illustrators regarding old age with the aid of many visual examples. This article will enable deeper understanding of the gender-based messages and effects of visual interpretation. This study can serve as a tool for educators and parents, to help children develop critical, independent, and value-based thinking. The article concludes that in today’s books, grandmothers appear more connected to advanced technology than ever. The illustrators of today’s children’s books connect with the model of the new grandmother and draw her wearing jeans and without wrinkles. In parallel, we also see traditionally-portrayed grandmothers in certain illustrations in recent books, from a post-feminist, rather than stereotypical, approach.

News, Events, Publications, and Awards

News, Events, Publications, and Awards

A Systemic Functional Semiotic Investigation of Illustrations in Chinese Poem Books: An Ontogenetic Perspective

A Systemic Functional Semiotic Investigation of Illustrations in Chinese Poem Books: An Ontogenetic Perspective

Comparative Study of the Illustrations and Images of the Chinese Classical Novel “Investiture of the Gods” in Woodblock Editions, Popular Prints and Temple Paintings

The paper discusses visual material based the plot of the Ming dynasty novel Fengshen yanyi (“Investiture of the Gods”, “封神演義”,), formed on the basis of a large corpus of written historical works and Song—Yuan vernacular literature. Various illustrated woodblock and lithographic editions of the novel (published before 1911) are discussed in chronological order with focus on the special features and artistic level of the illustrations, their content and technique are compared. Artisans' approaches to interpretation of the novel is also a subject of discussion. Popular woodblock prints nianhua from Russian collections are examined in order to trace whether connections with book illustrations exist and what episodes of the novel became more popular and for what reason. The paper refers to materials stored in prominent libraries, museums and research centres of Russia, Europe, US and Asia.

Impacts of parents and reading promotion on creating a reading culture: Evidence from a developing context

Although the government has made an effort to encourage reading, a Vietnamese person only reads four books per year on average. As low reading culture might hinder Vietnam’s pursuit of a knowledge-driven economy, this paper examines the relationship of students’ reading attitudes with gender, reading promotion activities, parents’ involvement. A dataset of 4966 secondary students in Northern Vietnam was used. The Bayesian method was employed to analyze the relationship between students’ reading attitudes and the following factors: their gender, reading promotion activities, parents’ involvement. The findings suggest that female students show more interest in reading than male students. Shared reading between parents and children positively correlates with students’ reading attitudes while buying books for children does not. All types of activities and services promoting reading habits positively correlate with students’ attitudes towards reading activities. Among the four examined services (storytelling contests, story-writing contest, book exhibition, and drawing book illustration), storytelling contest shows a strong association with reading attitudes while drawing book illustration has the weakest impact on reading attitudes.

Bestselling ‘beeldekens’. Hendrik Consciences “Hoe men schilder wordt” (1843) en de negentiende-eeuwse populaire beeldcultuur

Around the mid-nineteenth century, European literature abounded with book illustrations and the use of a pictorial style. Depending on the context and perspective, this literary fashion was associated with a threatening democratization of literature or perceived as a chance to reach new audiences. This article investigates whether the striking interactions between text and image in the internationally popular novella Hoe men schilder wordt (1843) by the Flemish author Hendrik Conscience can be regarded as a factor in its nineteenth-century popularity, and as a starting point for Conscience’s current image as an author of ‘popular’ literature, aiming at broad upcoming audiences.

Traditions, graffiti, identities, and the future: an interview with comic artist Dawud Osaze Kamau Anyabwile

ABSTRACT Dawud Anyabwile (previously known as David Sims) is best-known as the comic book illustrator for the Black family-owned independent series Brotherman: Dictator of Discipline. This interview is a compilation of edited excerpts from two recorded interview sessions conducted shortly after the 2020 Schomburg Center’s Annual Black Comic Book Festival in Harlem, New York. The conversation focuses on how Dawud’s early home experiences and work as an airbrush artist inspired the world illustrated on each page of his Brotherman comic books. We also discuss his artistic influences, how he learned to make comic books, and the inspirations behind his name change.

Wissenschaftsbezüge beim Buchillustrator und Grafiker Harry Jürgens

In this interview, graphic artist and book illustrator Harry Jürgens discusses the ways in which his art builds a bridge to science, and explores the contexts in which he collaborates with scientists. He reflects on his own research activity in the artistic process, his understanding of science illustration and his artistic goals in dealing with science topics.

Publishing Activity of Kultur-LigPublishing Activity of Kultur-Lige in Kyiv in 1918-1931: Phases and Genres

The article covers the introduction of Yiddish publishing activities, initiated by the Jewish civic and cultural-educational organization “Kultur-Lige” in the period from 1918 to 1931. The research analyzes the historical context and preconditions of the organization beginning in the 19th century. Among the main preconditions, the author highlights the rapid modernization of Eastern European Jewry, the proclamation of Yiddish as one of the many national languages at the inter-party conference on Yiddish in Chernivtsi in 1908, and the revolutionary events of the first half of the twentieth century. In addition, the article encloses the concept of secular Jewish culture proposed by members of the Kultur-Lige and ways of its implementation through printed Yiddish-language products, the main "marketplaces" of Yiddish textbooks, teaching materials, fiction, periodicals. The article analyzes the printed products of the Kultur-Lige, after preliminary structuring and systematization of publications by category: the sources were divided into a layer of textbooks, teaching and learning materials, children's books, and fiction. The authors of the educational books, textbooks, and books for children were usually young Jewish writers and members of the Literature section of Kultur-Lige. The main consumer of such Yiddish books were the educational institutions established by the Kultur-Lige. Specifically, the Jewish public Yiddish schools, public libraries, and reading rooms, as well as Jewish Public University. Educational institutions organized by Kultur-Lige provided education for all categories of the Jewish community. The article also includes some information about the book design of Kultur-Lige artists. Among the illustrators was Mark Chagall, Sara Shor, Eliezer Lissitzky, Joseph Chaikov, Mark Epstein, etc. This organization provided unique opportunities to implement their artistic idea in the area of book illustrations. Besides that, the article includes information about the print run of some books and the financial sources of the publishing section

101 MRI Brain Solutions, 1st Edition: A Book Review

This book is written by a group of Neuroradiologists from an Indian university and published by Jaypee Brothers Medical Publishers (P) Ltd see (Figure 1). The first chapter discusses the physical principles of MRI and the 2nd chapter illustrates brain anatomy. From the 3rd to 11th chapter, all chapters discuss different malformations and disorders that affect the brain. Chapters 12th and 13th are glossary and acronyms respectively. The only colored pictures are in the plate and the rest of the book illustrations has no colors. Each chapter is written by a Neuroradiologists of the 14 authors of the book (3 editors and 11 contributors). The used method in 3rd to 11th chapter is a presentation of a case as an example of the brain malformation or disorder on an MRI scan. The book uses Radioland’s style in presenting the cases. Each case will have a case presentation and history, MRI scan pictures, MRI findings, comments and explanations, opinions, and clinical discussion. This book is (101), so it is for beginners and it does not cover all MRI neuroradiology topics since it has 101 cases only. The book has too many English language mistakes and a significant lack of proofreading. Some of the MRI images have poor image quality. The book is printed on high-quality papers. In some chapters of the book, there are some CT scans to show the difference between MRI and CT in the ability to show some of the abnormalities. The medical illustration is not high-quality illustration; for example; the Percheron artery was illustrated in the book poorly. Nobody should expect to see professional illustrations like Netter’s style in illustrations in this book. In the book, they rarely use arrows to indicate the location of the pathology. The book does not mention some of the famous neuroradiology signs. In the subdural hematoma case, they present a case of acute on chronic hematoma as subdural hematoma case which would be better to show acute in one case, chronic in one case, and acute on chronic on a third case because this book is for beginners. Some anatomical illustrations are out of the chapter which discuss the anatomy of the brain like the illustration of the cerebral venous system on page 137, figure 28. From page 139 to 144, the book presents three anatomical variations in the brain’s vasculatures (carotid cavernous fistula, persistent occipital sinus, and fetal posterior cerebellar artery) which would be better to be in a separate chapter about anatomical variations. Sometimes, the book will mention a famous neuroradiology sign without providing any MRI image as a demonstration. As well, the book will describe some findings which is invisible on MRI images and the authors will write “not seen in these images”. If the finding is not demonstrated for the readers, the authors should not mention it in the findings. Instead, they can include this undemonstrated finding in the comments and explanation section of the case. This book will mention too many things (radiological signs, findings, associated conditions, etc.) without showing figures for what they are writing about like in the astrocytoma case they mention astrocytoma’s types without differentiating them on figures. Plus, the cases are not mentioned in an organized fashion. For example, the book will speak about a tumor that affects a specific region (let’s call it region number 1) then they will write about another tumor in a different region (let’s call it region number 2) then they jump back to the first region and write about another tumor that affects region number 1. The book needs to be organized to write; for example; the tumors in cerebellopontine angle together which will help the reader to collect and compare all the information about the tumors that affect this region then move to another region. The book will provide a low image quality with too many artifacts; for example; the diffusion image in the hypoglycemia case. The artifacts chapter discusses only three common types of artifacts which are the Gibbs phenomenon, zipper artifact, and susceptibility artifact. The chapter can be improved by organizing the artifacts like; patient-related, signal processing related, and machinery (hardware) related artifacts. The artifacts’ chapter is placed in between clinical cases which should be removed to the beginning or at the end of the book. The last chapter collected different cases under miscellaneous.

Clothing Death: Harry Clarke’s Designs for Edgar Allan Poe’s Dead Brides, from Word to Image

This article considers how the famous Irish stained glass artist and book illustrator Harry Clarke “translated” the works of Edgar Allan Poe from literature to image with particular attention to the attire worn by the dead brides in Poe’s tales “Ligeia” and “Morella.” The article takes as its point of departure the theories on the translation of poetry set out by Walter Benjamin in his famous essay “The Task of the Translator” (1921), where he argued that more than revealing what the original is about, the translator should reveal “its manner of meaning,” and that in the translation journey, the translator’s own language would be broadened and deepened by its contact with the translated one. The article explains how the work of Clarke on Poe can be understood as such a translation, claiming that in addition to enriching his own visual language, Clarke enriched the source text as well, by adding to it a crucial lexicon absent from the original, in the form of the dress of the dead brides of the tales, and that of their lovers, which are a central element of Clarke’s images, and unique among those of other visual translators of Edgar Allan Poe.

Picasso ve Braque nin Kübizm e Etkileri

Although you do not know the subtleties of the Cubism art movement, we know that it has important representatives such as Pablo Picasso and Georges Braque. Cubism is an art movement that emerged from the collaboration between Pablo Picasso and Georges Braque in France at the beginning of the 20th century. Based on the geometric abstraction of the Fauvism movement, Cubism broke many of the conventions of traditional Western art styles. Two of the mostdistinctive features of cubist paintings are the use of an abstract, four-dimensional perspective and the fragmentation of scenes and people into geometric shapes. When you look at a photograph or a scene in real life, you are viewing the scene from a single perspective. All objects in the frame fit together in this single perspective. Picasso was not only the central figure of Cubism, but also an internationally renowned painter and sculptor, considered one of the mostinfluential artists of numerous artistic movements, as well as a practitioner of other art forms such as drawing, engraving, book illustration. Cubism is the most influential movement in modern art, and Picasso and Braque transformed the art world in a way that no figure before him could. In this article, it is examined to present a definition of Cubism, to discover the roots of the Cubist movement, to follow its developments in the first half of the 20th century, and its most influential representatives Picasso and Braque.

News, Events, Publications, and Awards

News, Events, Publications, and Awards