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

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.

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!!!

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.

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.

Arthur Miller is a Professor of History and Philosophy of Science at London's University College. Equal parts biography and art-science history, his interesting book follows the parallel lives of physicist Albert Einstein (1879-1955) and painter Pablo Picasso (1881-1973) into the 20th Century. Although the two lives never actually intersected, Miller demonstrates that as a result of the intellectual atmosphere of 1905, Einstein and Picasso "began exploring new notions of space and time almost coincidentally" (p. 4). "I wrote EINSTEIN, PICASSO," Miller tells us, "for lovers of art and science practiced at their most fundamental and exciting level, for aficionados of thinking across disciplines and generally for readers interested in the drama of high creativity. We wonder about the moment when everything comes together to produce incredible insights. How does this happen? How do thoughts emerge that go beyond the information at hand?" (p. 8).

While it does not ultimately succeed as a biography in bringing either Einstein or Picasso to life in its 357 pages, Miller's book shows that his subjects were able to achieve "enormous successes under conditions that would have defeated most people" (p. 266), and to this limited extent, Miller gives us insight into what made both men tick. However, Miller's real strength is in exploring how Einstein and Picasso "processed information in order to make their momentous breakthroughs" (p. 245) resulting in Einstein's 1905 theory of relativity, and the cubism of Picasso's 1907 painting, "Les Desmoiselles d'Avignon." The theory of relativity, like cubism, Miller shows, represents "a profound response to changes in the philosophical and scientific climate as well as to dramatic technological innovations" (p. 174). While his book demonstrates time and again how Einstein and Picasso were equally fond of work and women, it only really soars when it reveals how these two men were able to simultaneously move the world into modernity through science and art.

G. Merritt