The galleries that make up the display in the Palacio de Buenavista have been organised to focus on thematic issues that are important aspects of Picasso’s aesthetic legacy. Among these are his relationship with Málaga and the unlimited versatility of his artistic talent; his sensitivity to injustice and towards those who suffered social marginalisation; a sense of origins, the deep- rooted ties of the family and the importance in his painting of the circle of closely linked people and familiar objects from his everyday life; the historical importance of Picasso as the creator of Cubism and inventor of images that are syntheses of multiple viewpoints, both formal and conceptual; his way of seeing the classic subjects and themes of art history such as the portrait, still life, landscape and nude; and the profound relationship of respect, inspiration and competition that he maintained with the great masters of art. Other galleries stress the importance of Picasso’s studio, a physical and

symbolic space transformed into a crucial setting THE COLLECTION English where numerous relationships unfold, of curiosity, veneration, desire, irony, violence and animosity Cover (detail) between the painter and model, setting up a WOMAN WITH RAISED ARMS mirroring process between the observer and the Paris, 1936 observed. Finally, some galleries focus on the Gift of Bernard Ruiz-Picasso artist’s remarkable ability to discover processes Inside (detail) and invent supports that would be groundbreaking JACQUELINE SEATED Paris, 8 October 1954 for the history of visual forms. Gift of Christine Ruiz-Picasso

The Collection spans eight decades of Picasso’s © Of the texts: the authors career. It conveys the rigour and creative powers © Sucesión Pablo Picasso, VEGAP, Madrid, 2015 of an artist who is essential for an understanding of © Photography: Eric Baudouin / Marc Domage Western art. It also gives concrete form to Equipo Gasull / Rafael Lobato Palacio de Buenavista Picasso’s desire to offer his native city some of the C/ San Agustín, 8. 29015 Málaga, España fruits of his great gifts. General information: (34) 902 44 33 77 Switchboard: (34) 952 12 76 00 E-mail: [email protected] www.museopicassomalaga.org THE COLLECTION THROUGH TEN ARTWORKS

GALLERY 2 GALLERY 4 GALLERY 6 GALLERY 8 GALLERY 10

MOTHER AND CHILD COMPOSITION ACROBAT JACQUELINE SEATED INSECT Fontainebleau, 1921 Juan-les-Pins, 1920 Paris, 1930 Paris, 8 October 1954 Vallauris, 1951 Private collection. Courtesy Private collection. Courtesy Private collection. Courtesy Gift of Christine Ruiz-Picasso Gift of Bernard Ruiz-Picasso Fundación Almine y Bernard Fundación Almine y Bernard Fundación Almine y Bernard Ruiz-Picasso para el Arte Ruiz-Picasso para el Arte Ruiz-Picasso para el Arte

Picasso adapted his models This work is one of a series of still In the winter of 1929 Picasso Whenever Picasso came up with The artist began his activity in to the canons of Antiquity lifes that Picasso produced in the returned to the subject of acrobats an image for a new woman in his the age-old medium of ceramics at and classicism, while imbuing summer of 1920. The deliberately accumulation, which leads the found in his Rose Period, painting life, he picked out those features the Madoura factory in the ancient the theme of motherhood “bad” execution alternates eye from the smallest object to six variations on this theme. which, for him, conveyed both pottery centre of Vallauris where with an archetypal quality. between opaque sections (the the largest and from the palest The limbs of this Acrobat, which her physical characteristics and he and Françoise Gilot acquired The monumental size of the clarinet) and transparent ones (the to the most intensely coloured, are out of proportion and also her temperament. a villa in 1948. In Picasso’s hands figures and their sculptural fruit bowl and piece of music, which is an illusionistic device frequently lack volume, are contained by Here Picasso maintained his interest this traditional type of everyday, nature are emphasised here are drawn directly on the canvas), employed for theatrical sets. the moulding of the wooden panel. in breaking up the visual and tactile anonymous art represented a Suzanne and Georges Ramié, through the predominant while the restrained palette, The numerous suggestions of The curious positioning of the figure outline in opposition to the light, experience so that the depth challenge to explore critically the which allowed him to grey and white tones in the shadows deeper and reduced to white, grey and grey- depth are compressed by the oval conveys a sense of endless rotation, airy white of the figure creates a expressed through the background notions of decoration and use. He undertake new experiments background. The impression accentuate the volumes. brown tones, recalls Cubist practice, shape of the frame, which suggests which may suggest the idea of contrast with the dense grey of colours reveals that the painting is a was attracted to the factory, with its and invent new techniques. of relief is further highlighted The result looks back to emphasised by the multiple and the form of a circular window or turning the actual work around, and the background and emphasises material object as well as an image. old buildings and traditional wood- by the use of thick Renoir, Cézanne and even contradictory viewpoints from which a telescopic mirror. this painting can in fact be rotated the figure’s weightlessness. The fired kilns, and to the opportunities brushstrokes and the nuances to Synthetic Cubism. the objects are seen. The effect of and viewed from all four sides. The grotesque body is gripped by the and facilities offered by the owners of black that make the tension created by the thick black contortions of the dance.

GALLERY 3 GALLERY 5 GALLERY 7 GALLERY 9 GALLERY 11 HEAD OF A MAN WITH ZIG- WOMAN WITH VASE OF FLOWERS OLGA KHOKHLOVA MUSKETEER WITH SWORD ZAGS IN PINK AND GREEN RAISED ARMS AND PLATE OF CAKES IN A MANTILLA Vauvenargues or Mougins, Mougins, 1965 Paris, 1936 Vallauris, 1951 Barcelona, 1917 28 January 1972 Private collection. Courtesy Gift of Bernard Ruiz-Picasso Private collection. Courtesy Private collection. Courtesy Gift of Bernard Ruiz-Picasso Fundación Almine y Bernard Fundación Almine y Bernard Fundación Almine y Bernard Ruiz-Picasso para el Arte Ruiz-Picasso para el Arte Ruiz-Picasso para el Arte

The figure is defined through Picasso met the photographer Dora This still life combines various Picasso was invited by Sergei Picasso’s musketeers are direct a minimum number of Maar in the early summer of 1936, objects to create two different Diaghilev and the Ballets russes to descendants from Spain’s golden brushstrokes consisting and she soon became his constant taking the form of a condemnation assemblages. The foot and neck design the sets and costumes for age. As an old man, the artist of strong blue lines and companion. She can be recognised of modern art. Soon after this, of the vase are created from the ballet Parade, and in February had in his possession a number patches of black. The pink economy of means as the inspiration for the half-length Picasso painted Guernica (1937). ceramic elements, the body from a 1917 went to Rome where he met of seventeenth and eighteenth- and green create the light convey the force of the figure portrayed in Woman with teapot, and the handle from a metal is once again convincingly evident the Russian ballerina Olga Khokhlova. The subject of a woman in a century editions, including works and shade on the face while sitter’s character. Raised Arms. Her dark cropped clamp. Standing in the vase are in this work. The Ballets russes subsequently mantilla first appeared in Picasso’s by Góngora, Don Quixote, and passed since he first devoted the bluish-green middle hair flows from behind her head, two flowers studded with nails. came to Spain and Olga decided to work in 1899 and links the artist to a copy of La Celestina from 1601, himself to art. tones complete and as if she were reclining and the On the other side of the base is a remain in Barcelona with Picasso the tradition of the great Spanish in addition to several tomes on harmonise the overall artist were painting her from above. cake plate, also made with ceramic despite her promising career with Old Masters. Picasso used a small the history of Spanish literature composition. This is certainly In the United States, the rural elements, on which Picasso the company. Picasso introduced embroidered tablecloth with a and, in particular, on the traditions not a self-portrait, but the world was being devastated modelled some cakes. The artist’s her to his family as his fiancée and fringe to stand in for a real of bullfighting. model’s dark eyes suggest by the Great Depression at this skill at revealing visual analogies painted this oil – the first known mantilla, a decision that conveys Painting had seemingly ceased to the young Picasso. The time. In Germany, the exhibition between dissimilar materials – nails depiction of the young Olga - to his desire to depict his fiancée be a discipline or even a challenge restrained approach and Degenerate Art was about to open, and petals, clay and pastry cakes – mark their engagement. dressed in the Spanish style. for the artist. Eight decades had