Einstein, Picasso: Space, Time and the Beauty That Causes Havoc

by Arthur I. Miller

Book Overview

The most important scientist of the twentieth century, and its most important artist, had their periods of greatest creativity almost simultaneously and in remarkably similar circumstances. This... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0465018602
• ISBN13: 9780465018604
• Release Date: March 2002
• Publisher: Basic Books
• Length: 368 Pages
• Weight: 1.00 lbs.
• Dimensions: 0.9" x 6.2" x 9.2"

Customer Reviews

Fascinating Comparisons

This fascinating little book gives intriguing comparisons between art and science. Whether you are an artist or an engineer, you will gain insight into design with this book. I'd like more pictures, but there are plenty to help you visualize the ideas. Interesting stuff.

Don't Be Scared

Mr.Miller is a phenomenal thinker! His observations are compelling and in-depth. Although you may think the subject matter is intimidating, he explains is all with incredible clarity. This book taught me a great deal - the information was accessable to the "non-scientist", and it really changed the way I look at the world. THANK YOU ARTHUR MILLER BRAVO!!!

Deeply inspiring for an artist

After reading several books and essays on Picasso in the context of modern art movements, it was refreshing to read such a thoughtful and detailed review of Picasso's achievements from the perspective of how science, and the scientific achievements of his time, affected him and drove him to seek 'new dimensions' in his art. I admit as an art enthusiast I took greater interest in the Picasso chapters than the Einstein chapters, but was truly impressed by Miller's ability to dive so deeply into each of these worlds.

Going over Boundaries between Disciplines

What factors can be motivations of a genius's reformative work? Is it possible that the same notions affect geniuses in science and art? What is the daily life of geniuses? What processes are going on when a genius does a monumental work? We often have such questions as above. Arthur I. Miller, Professor of History and Philosophy of Science at University College London, wrote a wonderful book to answer all of those questions and to tell us more about creative activity by the example of the two giants of the twentieth century, Albert Einstein and Pablo Picasso.This dual biography centers on the special relativity theory discovered by Einstein in 1905 and the Cubism painting "Les Demoiselles d'Avignon" produced by Picasso in 1907. In the first chapter, the author mentions that Poincare's book "La Science et l'hypothese" gave a spur to both of the two geniuses and led them to explore new notions of space and time. Tracing their respective lives in later chapters, the author clarifies how both men sought representations of nature that transcend those of classical thought and reach beyond appearances. The reader would be convinced of the fact that the effect of Poincare's book is not a superficial similarity between the works of Einstein and Picasso but a common denominator deeply rooted in the culture and science of the early twentieth century.In the last chapter the author insists that at the creative moment boundaries between disciplines dissolve. Namely, aesthetics becomes paramount also in science; on the other hand, artists solve problems just like scientists. So, if you are a scientist, you would find direct interest in the chapters on Einstein and also find it profitable to read the chapters on Picasso; and if you are an artist, the reverse would be true. Laypersons would also get a lot of stimuli to a productive life from this book.

A Brilliant Point of View

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