Picasso meets Einstein Steve Martin's award-winning play is a 'What if . . . ' | Deseret News
Picasso and Einstein Meet in Vienna. Vienna Theatre Company presents “ Picasso at the Lapin Agile,” a Steve Martin comedy. By Donna Manz. What if Albert Einstein and Pablo Picasso happened to meet in a Parisian bar (a real-life bar Picasso frequented)? The fictional meeting takes. "The play is set in in a real, famous bar in Paris, the 'Lapin Agile.' Picasso and Einstein meet in this bar and it's very much in the beginning.
The painting itself was one of Steve Martin's inspirations for the play. Four decades ago he was the youngest juror; "this time I was Juror No.
Fiedler, who was in Salt Lake City in for a role in the movie "Savannah Smiles," does a lot of personal appearances as the voice of Piglet, frequently autographing film cells and photographs.
For the past 20 years, he has lived in Brooklyn. It should be noted that while Martin wrote the play his first for the stagehe is, of course, NOT in the cast and is not expected to visit Salt Lake City. It touches on the relationship between art and science and what they have in common. While Stoppard is wonderful, you have to be very smart to understand it all, and sometimes he makes you feel kind of stupid, but Martin deals with things in such a down-to-earth way; it's a contrast in the the two kinds of material.Genius Einstein Episode 1
They tape all of the New York stage shows and keep them on file at the Library of Performing Arts at Lincoln Center, but they're not available to the general public. They're for research only, and you have to have a purpose for viewing them. Martin has taken this dense, heavy material and put it into this very farcical context. The juxtaposition of the two makes for a very entertaining piece.
There are lots of laughs, but you come out feeling nourished.
Going said the two theaters do a lot of tandem productions, pooling their financial resources. Everyone involved in cubism considered it a highly intellectual adventure with the specific goal of reducing forms to geometry. In the intellectual atmosphere of it is not surprising that Einstein and Picasso began exploring new notions of space and time almost coincidentally.
The main lesson of Einstein's relativity theory is that in thinking about these subjects, we cannot trust our senses. Picasso and Einstein believed that art and science are means for exploring worlds beyond perceptions, beyond appearances. Direct viewing deceives, as Einstein knew by in physics, and Picasso by in art. Just as relativity theory overthrew the absolute status of space and time, the cubism of Georges Braque and Picasso dethroned perspective in art.
Einstein's approach to space and time was not primarily mathematical. Notions of aesthetics were essential to his discovery in of relativity and a new representation for light, and then in of a means to widen relativity theory to include gravity. Nor were Picasso's studies of space totally artistic in the narrow sense of this term, as his interest in scientific developments reveals.
Picasso's new aesthetic for the Demoiselles was the reduction of forms to geometry. This is called passage. Lorentz, of whom Einstein wrote, "I admire this man like no other; I might say, I love him. Similarly Lorentz had almost formulated a proper theory of electromagnetic phenomena, and yet could not bring himself to interpret it as predicting the relativity of space and time. Einstein and Picasso, on the other hand, because they sought realities beyond appearances, each accomplished something entirely new.
Nor were the two men's personal working styles dissimilar. Both came to terms early on with the loneliness of the creative effort. As Einstein wrote some years later, "I live in the solitude which is painful in youth, but delicious in the years of maturity.
Both men emphasized that despite their apparently revolutionary advances, they were actually extending the work of past masters.
Technology too played a role in Picasso's development of cubism, as we see from his adroit use of photographs as models for paintings and his interest in cinematography.
Similarly did technology provide key input into Einstein's thinking toward relativity inparticularly the design of electrical dynamos and practical problems of wireless telegraphy. Yet at first, both their seminal works were terribly misunderstood. That Einstein had accomplished something new in would not be apparent to everyone until If relativity was appreciated at all before that, it was mostly for the wrong reasons. Let us not forget that Einstein sat in the Swiss Federal Patent Office from until and received his first academic position on the basis of research results that had nothing to do with relativity theory.
In the fall of Picasso put the painting aside and did not exhibit it again until It was not widely recognized as anything revolutionary until the early s. Just as only Einstein understood his paper on electrodynamics as a major conceptual advance, so did Picasso with the Demoiselles.
Picasso's and Einstein's personal lives bear similarities and differences that, to some extent, reflect their intellectual and social milieus. Recently discovered love letters between Einstein and his college girlfriend, Mileva Maric, reveal a side of him as yet unexplored. ByMileva, Einstein's wife sincewas in a position of disfavor not unlike that of Picasso's then-mistress Fernande Olivier.
Like Picasso with Fernande, Einstein had learned to harness Mileva's moods to his vision, and his passions provided some of the dynamics for his greatest creations. All of this influenced their practice of art and was instrumental in producing early offshoots of cubism that were formulated specifically to diverge from cubism's "figurativeness," as this term had been reinterpreted.
An early representative of this trend was Wassily Kandinsky, who produced the first entirely nonfigurative painting in He was among artists who were especially interested in the mass-energy equivalence, X rays and radioactivity, which they took as proof that, ultimately, everything is amorphous.
While art was moving toward a highly abstractive phase, physics underwent a parallel movement after the geometrization of space and time in Einstein's general relativity theory ofand then even more dramatically in the s with the development of quantum theory. Yet pure abstraction was a Rubicon that Picasso never crossed, and Einstein never agreed with the high abstractions of quantum theory.
Each man ultimately lost contact with the implications of his own revolution. Instead of referring to an "interplay" between art and science, we must begin to speak of ideas that were developed in common by artists and scientists.
The age-old quest of both art and science has been to seek new representations of phenomena beyond appearances. This effort becomes focused at the nascent moment of creativity, when boundaries dissolve between disciplines and notions of aesthetics became paramount. Coming to grips with this phenomenon requires delving into the nature of creative thinking. For the purpose of parallel biographies of Einstein and Picasso, I have divided their stories up into six chapters, three each.
To set the stage for their anni mirabiles in and respectively, Chapters 2 and 3 discuss their formative years, which include their education, the social, scientific and intellectual milieus within which they lived and which they attempted to break with, their lives as young men including their female confidants and lovers and the closed circles of male friends with which they surrounded themselves.
Chapters 4 and 5 continue the life of Picasso into the second decade of the twentieth century. Chapter 4 focuses on the scientific, technological and mathematical elements of the avant-garde that affected his discovery of the proper representation for Les Demoiselles d'Avignon.
I will look into Picasso's work habits, cultural tastes and personal life and the tensions that provided the dynamics for his creative efforts. Science, technology and mathematics turn out to be important tiles in this mosaic. Late in Picasso met Georges Braque.
Henri Poincaré: the unlikely link between Einstein and Picasso
Chapter 5 investigates their joint efforts toward a developed cubism. These photographs, which date back todemonstrate Picasso's skill in taking pictures as well as manipulating negatives and prints. This chapter highlights his adroit and highly creative use of photography.