![]() ![]() Through close readings of the theory of relativity and Picasso's groundbreaking Les Demoiselles d'Avignon, Miller argues that these two men were working on the same problem: "how to represent space and time at just the moment in history when it became apparent that these entities are not what we intuitively perceive them to be." In the 21st century, it is old news that artists and scientists struggle with the best ways to represent space and time. He traces in great detail the influences of photography, geometry and X-ray technology on Picasso's art as well as the influence of aesthetic theory on Einstein's science. Miller plunders previously unavailable sources as he narrates the parallel biographies of Einstein and Picasso. ![]() Both Einstein and Picasso borrowed from Poincar the idea of a temporal and spatial dimension beyond our own that could be captured in art and physics. ![]() Moreover, Miller, professor of history and philosophy of science at University College London, contends, both Einstein and Picasso were deeply influenced by mathematician and philosopher Henri Poincar 's treatise on non-Euclidean geometry, La Science et l'hypoth se. Although the physicist and painter never met, their creative geniuses developed simultaneously under similar social circumstances and during an unrivaled period of cultural ferment. Intellectual historians widely acknowledge that Einstein's theory of relativity and Picasso's cubist paintings launched modernity. ![]()
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