Whereas Picasso’s work in ceramics, wood and bronze is rather well known, the body of his sculptures in glass remains an object of little research. In fact, as a thorough analysis reveals, they rarely find mention in publications or catalogues on Picasso and seldom are included in exhibitions or retrospectives on the great Spanish artist. This may on the one hand be attributed to a still prevailing perception of glass as a medium for industrial, functional or everyday purposes—hence discounting the material in terms of artistic output—while on the other, to controversies of authorship, related to the question of ideation versus creation. Unlike ceramics or bronze, the realisation of blown glass sculpture hinges on the involvement of the maestro vetraio as the mediator between thought and form—thus resulting in a distancing between artwork and artist conditioned by the nature of the medium. Against this background, the paper aims at a better understanding of Picasso’s vision of sculpture through an examination of his creations in the vitreous medium. On these grounds, a closer look at Picasso’s works in glass is meant to highlight his unique ‘hand’ in terms of idiom, line and form.

中文翻译：

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玻璃中倒映毕加索

尽管毕加索的陶瓷、木材和青铜作品相当出名，但他的玻璃雕塑主体仍然很少被研究。事实上，彻底的分析表明，他们很少在毕加索的出版物或目录中被提及，也很少被纳入这位伟大的西班牙艺术家的展览或回顾中。一方面，这可能归因于人们仍然普遍认为玻璃是工业、功能或日常用途的媒介——因此在艺术产出方面低估了材料——而另一方面，也归因于与该问题相关的作者身份争议。构思与创造的关系。与陶瓷或青铜不同，吹制玻璃雕塑的实现取决于维特拉奥大师作为思想和形式之间调解者的参与，从而导致艺术品和艺术家之间因媒介的性质而产生的距离。在此背景下，本文旨在通过检查毕加索在玻璃介质中的创作来更好地理解毕加索的雕塑愿景。基于此，仔细观察毕加索的玻璃作品，就可以凸显出他在语言、线条和形式上独特的“手”。