Billy Klüver was born in 1927 to Swedish and Norwegian parents. In 1951, he earned an electrical engineering degree from the Royal Institute of Technology in Stockholm. During the 1950s, he was appointed president of the Stockholm University Film Society and was cofounder of the Swedish Alliance of Film Societies. During a stay in Paris (1952-1953), where he was a research assistant at Thompson-Houston, Klüver met Swiss artist Jean Tinguely through childhood friend Pontus Hultén (who was director of the Moderna Museet in Stockholm, Sweden). In 1953, Klüver immigrated to the United States, where he earned a PhD in electrical engineering at the University of California, Berkeley (Calif., United States), in 1957. The following year, he joined the engineers in the Communication and Research Department at Bell Laboratories (Murray Hill, N.J., United States). It was also at this time that he made connections with a group of New York artists, a community whose members represented the avant-garde across all artistic disciplines (John Cage, Robert Rauschenberg, Jasper Johns, Andy Warhol, Merce Cunningham). An increasingly important witness to the era, he participated in a number of “happenings,” including those of Claes Oldenburg. In 1960, Klüver designed the mechanical components and oversaw the functioning of Hommage à New York, Jean Tinguely’s self-destructing sculpture presented in the garden of the Museum of Modern Art (New York, N.Y., United States). In the early 1960s, Klüver curated two exhibitions at the Moderna Museet: Art in Motion (1961) and Four Americans: Alfred Leslie, Richard Stankiewicz, Jasper Johns and Robert Rauschenberg (1962).
In 1978, while collecting documentary photographs of the artists' community in Montparnasse from the first decades of the century, Billy Kluver discovered that some previously unassociated photographs fell into significant groupings. One group in particular, showing Picasso, Max Jacob, Moise Kisling, Modigliani, and others at the Cafe de la Rotonde and on Boulevard du Montparnasse, all seemed to have been taken on the same day. The people were wearing the same clothes in each shot and had the same accessories. Their ties were knotted the same way and their collars had the same wrinkles. A total of twenty-four photographs—four rolls of film with six photographs each—were eventually found. With the challenge of identifying the date, photographer, and circumstances, Kluver embarked on an inquiry that would illuminate the minute texture of that time and place.
Biographical research into the subjects' lives led Kluver to focus on the summer of 1916 as the likely time the photos were taken. He then measured buildings and plotted angles and lengths of shadows in the photographs to narrow the time frame to a spread of three weeks. Further investigation eventually allowed Kluver to identify the photographer as Jean Cocteau and to determine the day that Cocteau had taken the photographs: August 12, 1916. A computer printout of the sun's positions on that date, obtained from the Bureau des Longitudes, together with the length of the shadows, enabled Klver to calculate the time of day of each photograph, and thus to put them in proper sequence.
In a tour de force of art historical research, Kluver then reconstructed a scenario of the events of the four hours depicted in the photographs. With evocative attention to detail—noting when Picasso is no longer carrying an envelope or Max Jacob has acquired a decoration in his lapel—Kluver recreates a single afternoon in the lives of Picasso and friends, a group of remarkable people in early twentieth-century Paris.
Besides the central ''portfolio'' of photographs by Cocteau, the book contains additional photographs and drawings, short biographies of all the subjects, and a historical section on the events and activities in the Paris art world at the time.
Negatief, positief, neutraal: we zetten een review altijd online. We controleren wel eerst of ’ie voldoet aan onze reviewvoorwaarden en niet nep is. We controleren ook of ’ie is geschreven door iemand die het artikel heeft gekocht via bol.com en zetten dit er dan bij. De controles gebeuren automatisch, al kijken er soms mensen mee. Bol.com betaalt niet voor reviews. Als een reviewer door een andere partij is vergoed, staat dit in de review zelf.
Negatief, positief, neutraal: we zetten een review altijd online. We controleren wel eerst of ’ie voldoet aan onze reviewvoorwaarden en niet nep is. We controleren ook of ’ie is geschreven door iemand die het artikel heeft gekocht via bol.com en zetten dit er dan bij. De controles gebeuren automatisch, al kijken er soms mensen mee. Bol.com betaalt niet voor reviews. Als een reviewer door een andere partij is vergoed, staat dit in de review zelf.
Ik vond dit boek van Picasso geweldig. Het geeft een goed beeld van het leven van picasso
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