Dissecting Picasso’s Political Identity: Three Nude Paintings
| dc.contributor.author | Stitt, Amber | |
| dc.date.accessioned | 2017-10-16T20:52:46Z | |
| dc.date.available | 2017-10-16T20:52:46Z | |
| dc.date.issued | 2009 | |
| dc.identifier.uri | http://hdl.handle.net/20.500.11868/212 | |
| dc.language.iso | en_US | en_US |
| dc.publisher | College of Art and Design, The University of Tampa | en_US |
| dc.subject | Picasso, Pablo, 1881-1973 | en_US |
| dc.subject | Guernica (1937) | en_US |
| dc.subject | Spain | en_US |
| dc.subject | The Charnier (The Charnel House) (1945) | en_US |
| dc.subject | Nude in art | en_US |
| dc.subject | Massacre in Korea (1951) | en_US |
| dc.subject | Politics and art | en_US |
| dc.title | Dissecting Picasso’s Political Identity: Three Nude Paintings | en_US |
| dc.type | Article | en_US |
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