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Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc, by Arthur J. Miller
Download Ebook Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc, by Arthur J. Miller
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The most important scientist of the twentieth century and the most important artist had their periods of greatest creativity almost simultaneously and in remarkably similar circumstances. This fascinating parallel biography of Albert Einstein and Pablo Picasso as young men examines their greatest creations-Picasso's Les Demoiselles d'Avignon and Einstein's special theory of relativity. Miller shows how these breakthroughs arose not only from within their respective fields but from larger currents in the intellectual culture of the times. Ultimately, Miller shows how Einstein and Picasso, in a deep and important sense, were both working on the same problem.
- Sales Rank: #451350 in Books
- Published on: 2002-03-07
- Released on: 2002-03-05
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .92" w x 6.00" l, 1.13 pounds
- Binding: Paperback
- 368 pages
From Publishers Weekly
Intellectual historians widely acknowledge that Einstein's theory of relativity and Picasso's cubist paintings launched modernity. Although the physicist and painter never met, their creative geniuses developed simultaneously under similar social circumstances and during an unrivaled period of cultural ferment. Moreover, Miller, professor of history and philosophy of science at University College London, contends, both Einstein and Picasso were deeply influenced by mathematician and philosopher Henri Poincar‚'s treatise on non-Euclidean geometry, La Science et l'hypothŠse. Both Einstein and Picasso borrowed from Poincar‚ the idea of a temporal and spatial dimension beyond our own that could be captured in art and physics. Miller plunders previously unavailable sources as he narrates the parallel biographies of Einstein and Picasso. He traces in great detail the influences of photography, geometry and X-ray technology on Picasso's art as well as the influence of aesthetic theory on Einstein's science. Through close readings of the theory of relativity and Picasso's groundbreaking Les Demoiselles d'Avignon, Miller argues that these two men were working on the same problem: "how to represent space and time at just the moment in history when it became apparent that these entities are not what we intuitively perceive them to be." In the 21st century, it is old news that artists and scientists struggle with the best ways to represent space and time. But Miller's eloquent and wide-ranging interdisciplinary history of ideas returns us to the beginning of the 20th century when two brilliant minds challenged reigning understandings of space and time and fashioned revolutionary models that imbue contemporary culture's understandings of itself and the physical world. (Apr.)Forecast: There is probably not a huge readership for this title, but it will sell well to students of science, art and the history of ideas. The author will make appearances in Chicago and Cambridge, Mass., in late March, and such engagements should help him reach his audience
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
During the span of a few years shortly after the start of the 20th century, roughly from 1904 to 1908, two quiet revolutions in how we perceive the world were underway. In Switzerland, Einstein was working on the nature of time and space. In Paris, Picasso tackled a similar problem in the creation of the seminal Cubist work "Les Demoiselles d'Avignon" (for a detailed history of this painting, see William Rubin and others' Les Demoiselles d'Avignon, LJ 2/1/95). Miller (history and philosophy of science, University Coll., London) examines the two men and the revolutions they initiated. Pulling together the lives of the physicist and the painter, as well as the band of friends, colleagues, influences, and lovers that surrounded them at that time. Miller creates a compelling argument for the confluence of aesthetics and science. Illustrated with scientific diagrams as well as work by Picasso and others, this is recommended for larger collections on modern art in public libraries and for most general academic collections. Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, DC
Copyright 2001 Reed Business Information, Inc.
Review
"Einstein, Picasso presents new insights into the creative processes common to a revolutionary scientist and radical artist." -- --New Scientist
"[An] eloquent and wide-ranging interdisciplinary history of ideas." -- --Publishers Weekly
Most helpful customer reviews
0 of 0 people found the following review helpful.
MUST READ FOR ARTISTS AND TEACHERS
By BBC
Every artist and art teacher should read this book. It makes one aware of the philosophy behind the modern art movement.
22 of 23 people found the following review helpful.
A Brilliant Point of View
By A Customer
In this intriguing new book, science historian Arthur I. Miller looks in parallel at the achievements of Einstein in physics and Picasso in art and explores the common origins of each. But first he asks the important question of why--what were they after? No less than the truth, it seems, and a representation of nature--space and time--that went deeper than the side of it we perceive through our senses. He shows how it was basically the same problem for both, and how they went about tackling it, with particular details given as the story unfolds.
The author's energetic writing style captures the spirit of that magic time at the beginning of the 20th century when dramatic changes were in the air--the discovery of X-rays, new developments in photography and filmmaking, breakthroughs in mathematics and psychology. The book shows how Einstein and Picasso responded to these changes, arriving on the scene poor but full of optimism and confidence, with a savvy in picking up on opportunities that Bill Gates would probably admire.
Chapters on Einstein alternate with those on Picasso; occasionally, one man makes an appearance in the other's space (in the form of an observation by the author, because, of course, the two never met). This gives a sense of events occurring at the same time. At one point we see them grappling with questions of simultaneity, framed in this technique. Harold Pinter couldn't have done better.
The stories of their personal lives, and how they influenced their work, are told in a very absorbing way--their poignant relationships with women that often ended in tragedy, the friends they spent time with, the opinions they listened to, the books and journals they read, and the cafes they frequented (especially when their early apartments didn't have kitchens).
A recent Sunday New York Times review aptly likens the book to "an intellectual thriller." The key to the mystery lies in the book by French mathematician Henri Poincare, "Science and Hypothesis," mentioned repeatedly. Picasso was intrigued by Poincare's discussion of the fourth dimension--motion in time--and the author describes how Picasso got wind of it and who explained it to him. Einstein had read a German translation of the book and was impressed with its brilliant mathematics and views on "aesthetic sensibility," and we read how notions of aesthetics were essential to his discovery of relativity.
The author gives due credit to Cezanne's influence on Picasso (After all, who can forget his famous aphorism that everything in nature is modeled on the sphere, the cone, and the cylinder?) Then he shows how Picasso took geometrization a step further, and then some, with a very well thought out analysis of the mathematical underpinnings of cubism that gives a fuller understanding of the paintings.
Arthur Miller draws on his background in physics to show how Einstein discovered relativity. (Math phobes shouldn't worry--there aren't any equations.) He especially goes into how Einstein, rather than relying completely on empirical data, used conceptual thought, which is often a difficult process. It's an approach that goes a long way to explaining why Einstein succeeded where others didn't.
The author supports his views with an abundance of carefully researched information and ties it all together, and doesn't overlook subtle clues. It could take some effort to get through certain parts of the book, but he gives you a great deal of help. He takes you along on the adventure, and in some of the pages on Einstein invites you to do your own thought experiment, using examples from everyday life, such as an elevator ride.
I imagine this book will fascinate a wide range of readers, both scholars and laypersons interested in the ideas that shaped our time, and will inspire lively discussions for years to come.
15 of 16 people found the following review helpful.
Thinking Differently
By A Customer
Miller's book does a splendid job of examining the various influences leading to the conceptual breakthroughs of Einstein and Picasso. Their courage to think differently and to find new perspectives is inspiring and offers insights into the creative process. It is no "easy read" however. Where his book falls short is in the concluding chapter: there he attempts to formulate a theory of the creative process which was wholly unsatisfying and unconvincing to this reader. The first seven chapters were wonderful and make this book worth reading.
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