00417mpm_triptico#5.indd 1 4 1 7 ©Privatecollection.Photo:PatrickGoetelen Private collection Bronze, 53.2x33.261cm Baboon andYoung, Pablo (1881-1973) © DavidDouglasDuncan Private collection Gelatin silverprint,39.8x28.2cm , VillaLaCalifornie,Summer1957 On theStairsatNightfall David DouglasDuncan(b.1916) m p m _ t r i p t i c o # 5 . i n d d

October 1951

1 The guidedvisitstotheexhibition: refunded oncebought maynotbecancelled,replaced or or theftoftickets.Tickets passport. TheMuseumandUnicajadeclineanyliabilityintheeventofloss upon compulsorypresentation ofacredit card andavalididentitycard or Advance ticketsare retrieved onthedayofvisitatMuseum’s ticketdesk, at www.generaltickets.es maybeboughtinadvancebycalling(34)902360295oronline Tickets ADVANCE TICKETSALES Last Sundayofeverymonth ICOM members Students oftheUniversidaddeMálagawithvalididentifi Holders ofEURO< by anadult) Youths aged18andyounger(children 12andyounger accompanied FREE ADMISSION Groups of20people(byappointment) Students under26withvalididentifi over65 Visitors REDUCED FEES(50%) salescease30minutesbefore closingtime Ticket Combined ticket:8.00euros Temporary exhibition:4.50euros Permanent collection:6.00euros ADMISSION FEES Closed onMondays,25Decemberand1January 24 and31December, 10amto3pm Sundays andpublicholidays,10amto8pm Fridays toSaturdays, 10amto9pm Tuesday toThursday, 10amto8pm OPENING HOURS © Privatecollection.Photo:GeraldFriedly Private collection painted withoxides;glazed,59x25.5cmeach plaque Four oblongplaques.Whiteearthenware; incised; elements applied; Woman withGreen Hair, (1881-1973) Cover © SucesiónPabloPicasso,VEGAP, Málaga,2011 © DavidDouglasDuncan © Ofthetext:LucíaVázquez www.museopicassomalaga.org [email protected] Switchboard: (34)952127600 General information:(34)902443377 29015 Málaga C/ SanAgustín,8 Palacio deBuenavista [email protected] every Thursdayat6.00pm.Forotherguidedvisits,pleasecontact:

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1 Picasso at Work Through the Lens of David Douglas Duncan 0 : 5

0 20.06.2011 - 25.09.2011 David Douglas Duncan (b. 1916) Pablo Picasso (1881-1973) David Douglas Duncan (b. 1916) The Living-Room at La Californie Pigeons, Cannes, 1957 The Marriage Cannes, 1957 Oil on canvas, 100 x 80 cm Cannes, Villa La Californie, March 1961 Gelatin silver print, 24.6 x 37 cm Dated on reverse: 12.9 / 57. / II Gelatin silver print, 24.5 x 35.5 cm Private collection , Barcelona. MPB 70.456 Private collection © David Douglas Duncan © Museu Picasso, Barcelona. Photo: Gasull Fotografía S. L. © David Douglas Duncan

“Probably no other artist of his time was so thoroughly reports, and this made him very aware of the power and public This was where Picasso was to spend most of his time, working. photogenic, or totally at ease while being photographed, as magnetism of his own fi gure. As he had always been fascinated Some of the photographic sequences allow the viewer Picasso. Whether with friends, at work, or lolling in his bathtub, by the photographic medium, he therefore knew how to act to reconstruct Picasso’s fascinating creative process—the he seemed indifferent to a camera. He never even blinked. “naturally” for Duncan—at work, posing, in disguise or dancing, appropriation of everyday objects, the transformation of the use He radiated the innocent purity of children and the command sometimes talking with friends or his wife, or playing with his of those ordinary objects into something utterly unexpected, or presence of an emperor.” children. On other occasions, however, he seemed completely the constant exploration of shapes and materials. David Douglas Duncan unaware of the camera, when working on pottery pieces, concentrating on an engraving, ordering documents or classifying Together with the selection of around 115 photographs artworks. by David Douglas Duncan, the visitor will also fi nd more David Douglas Duncan (1916, Kansas City, USA) met Pablo than seventy original works by Picasso that have been Picasso in 1956 on one of his trips to Europe and from then This exhibition focuses on Picasso’s creative process, his studio brought together in an exhibition for the fi rst time. Some until the artist’s death they were united by the friendship that is and aspects of his daily life as captured by the lens of his friend the are easily recognizable in the images taken by Duncan, thus refl ected in this exceptional photographic record. photographer between 1956 and 1961. Most of the images were reconstructing the universe made up of Picasso’s workshop- taken in Picasso’s villa at Cannes, in the south of France, although residences, where adults, children, animals and works lived In those years, Duncan was an internationally recognized other photographs were taken at his residence in Nôtre-Dame de together in harmony with the artist as master of ceremonies. photographer working for the prestigious Life magazine and Vie or in the pottery workshop at Vallauris. The villa La Californie covering the most important confl icts of the moment, such as was at one and the same time a studio and a family home, a place Duncan, whom Picasso called “Ismael”, thus recreates the the tension in the , Indian independence or the crammed with boxes, newspapers, wrappers, pottery, pieces of everyday atmosphere of the most famous artist of the twentieth . By documenting the life of his friend Picasso he wood, African sculptures, sculpted heads, canvases hidden among century and introduces the spectator into an intimate space took on a theme that was utterly unlike that of his other work, family furniture… and as a backdrop, the great ornamentally reserved for work, the family and friends. but he remained nonetheless faithful to photo reportage— topped windows through which could be seen the palm trees in photography together with a story. the garden and the sea. The great salon is often the outstanding On seeing these photographic narrations, we can confi rm just protagonist of Duncan’s work, as it is of Picasso’s. Picasso called how much Picasso made no distinction between life, activity and Picasso, for his part, had by this time become a world famous these drawings and canvases inspired by La Californie “interior œuvre. personality. His image as a media celebrity artist was to landscapes,” perhaps because he perceived his workshop-home as be found all over the world in books, exhibitions or news a microcosm of life itself.

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