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Exhibition Room 1 EXHIBITION ROOM 1 Early Years: Drawing and the Human Figure Throughout their careers both Degas and Picasso talent as a child and was directed by his art-teacher focused primarily on the human figure, an obsession father, refused to complete his training at the that had its roots in their early art-school education. Real Academia de San Fernando in Madrid and, Separated by almost half a century, both began their aged sixteen, began consciously emulating more training by drawing, first from plaster casts, then abstracted, vanguard styles. Nevertheless, for the from posed nude models, and by copying great rest of their lives drawing remained the corner-stone figurative art from the past. Degas quickly rebelled of both artists’ work, although Picasso, unlike Degas, against this system and embarked on a long study would later work from memory and the imagination tour of Italy. Picasso, who revealed outstanding rather than hired models. Pablo Picasso Edgar Degas Self-Portrait Self-Portrait 1896 - Oil on canvas - 32,9 x 24 cm c.1857-1858 - Oil on paper mounted on canvas Museu Picasso, Barcelona (MPB 110.076) 26 x 19 cm - Sterling and Francine Clark Art Institute, © Succession Pablo Picasso, VEGAP, Madrid 2010 Williamstown, Massachusetts (1955.544) © Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA Photo by Michael Agee) Pablo Picasso The Old Fisherman 1895 - Oil on canvas - 83 x 62,5 cm Museu de Montserrat, Barcelona. Gift of Joseph Maria Sala i Ardiz (N.R 200.502) © Succession Pablo Picasso, VEGAP, Madrid 2010 EXHIBITION ROOM 1 Early Years: Drawing and the Human Figure Pablo Picasso Self-Portrait Edgar Degas Self-Portrait Picasso was only fourteen or fifteen when he painted Degas was living in Italy when, at age twenty-three, this formal, bust-length self-portrait, but he already he executed this penetrating self-appraisal. Wearing showed as much concern with inner mood as outer a white artist’s smock and a soft hat to shade his appearance. Precociously adept at absorbing eyes from the sun, he presented himself as a differing sources, he fused discreet allusions committed painter, the loose brushwork and bold to the great seventeenth-century Spanish contrasts of color and tone reinforcing this image. masters with a contemporary realist style indebted to photography. Pablo Picasso Edgar Degas Self-Portrait Self-Portrait 1896 - Oil on canvas - 32,9 x 24 cm c.1857-1858 - Oil on paper mounted on canvas Museu Picasso, Barcelona (MPB 110.076) 26 x 19 cm - Sterling and Francine Clark Art Institute, © Succession Pablo Picasso, VEGAP, Madrid 2010 Williamstown, Massachusetts (1955.544) © Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA Photo by Michael Agee) Pablo Picasso The Old Fisherman Edgar Degas Roman Beggar Woman Studies of picturesque human types played a part Painted in Rome during his years of study in Italy, in the education of nineteenth-century artists. this superb canvas reveals the sophisticated skills This work also reflects Picasso’s response to that Degas had already acquired. Scenes of the dramatic realist style of the Spanish picturesque or poignant local figures had a wide masters seen some time earlier on his popularity and gave Degas the chance to represent first visit to the Prado. a real — rather than an idealized — individual he had encountered. Pablo Picasso Image not available for web uses The Old Fisherman 1895 - Oil on canvas - 83 x 62,5 cm Museu de Montserrat, Barcelona. Gift of Joseph Maria Sala i Ardiz (N.R 200.502) © Succession Pablo Picasso, VEGAP, Madrid 2010 EXHIBITION ROOM 2 Paris: Picasso Discovers Degas In their different circumstances, portraiture allowed when the city’s glamour and artistic prestige were both Degas and Picasso to progress beyond at their height. He stayed with Catalan friends in the academic subject matter to contemporary urban artistic quarter, Montmartre, and reveled in the famous imagery. In 1899 Picasso joined Barcelona’s Quatre bars, cabarets, and street life. Degas was then in his Gats group and fell under the influence of Catalan sixties and lived nearby, and was still admired for his artists, such as Ramon Casas, who had visited Paris pioneering pictures of these subjects. By 1904, when and seen the work of the Impressionists, including Picasso settled in Paris, he had already produced Degas. Picasso’s strongly characterized portrait many caricatural cabaret scenes and also responded drawings made at the turn of the century resemble directly to some of Degas’s most celebrated and not only those by Casas, but also by Degas and his controversial pictures, notably In a Café (L’Absinthe). Parisian followers. Picasso first visited Paris in 1900, Pablo Picasso Edgar Degas Portrait of Sebastià Junyer i Vidal Carlo Pellegrini 1903 - Oil on canvas - 126,4 x 94 cm c. 1876-1877 - Oil on paper mounted on cardboard Los Angeles County Museum of Art. 63,2 x 34 cm - Tate, London. (N03157) David E. Bright Bequest (M.67.25.18) © Tate, Londres 2009 © Succession Pablo Picasso, VEGAP, Madrid 2010 Pablo Picasso Edgar Degas The frugal meal In a Café (L’Absinthe) 1904 - Etching and scraping on zinc 1875-1876 - Oil on canvas - 92 x 68,5 cm 46,3 x 37,7 cm (MPB 110.011) Musée d’Orsay, Paris. Bequest of Count Isaac © Succession Pablo Picasso, de Camondo, 1911 (RF 1984) - Réunion des Musées VEGAP, Madrid 2010 Nationaux / Art Resource, New York (photo Hervé Lewandowski) EXHIBITION ROOM 2 Paris: Picasso Discovers Degas Pablo Picasso Portrait of Sebastià Junyer i Vidal Edgar Degas In a Café (L'Absinthe) As he grew in confidence, Picasso tackled some Considered shocking when exhibited before 1900, of Degas’s most well-known works in a respectful Degas’s painting of two of his friends posed in a yet openly competitive manner. Echoing the scene café was regarded as an image of bohemian of drinkers in Degas’s In a Café (L’Absinthe), this dissolution. Known to Picasso either firsthand painting is bleaker in tone and more direct in or in reproduction, it prompted a series of large suggesting the dissolute life of one of and small variants in which the younger artist Picasso’s friends and his seemed to compete with his predecessor. female companion. Pablo Picasso Edgar Degas Portrait of Sebastià Junyer i Vidal In a Café (L’Absinthe) 1903 - Oil on canvas - 126,4 x 94 cm 1875-1876 - Oil on canvas - 92 x 68,5 cm Los Angeles County Museum of Art. Musée d’Orsay, Paris. Bequest of Count Isaac David E. Bright Bequest (M.67.25.18) de Camondo, 1911 (RF 1984) - Réunion des Musées © Succession Pablo Picasso, Nationaux / Art Resource, New York VEGAP, Madrid 2010 (photo Hervé Lewandowski) EXHIBITION ROOM 3 Women and their Private World Although a lifelong bachelor reputed in his own briefly dominated his work, Picasso adopted a day to be a misogynist, Degas was so fascinated willfully “primitive” form of classicism, drawing by women that they dominated his work in all inspiration from Degas’s daringly simplified late style. media. Alongside numerous portraits that are The posthumous sales of the contents of Degas’s notable for their sympathy, penetration and studio in 1918–1919 brought a flood of unknown honesty, he produced hundreds of images of drawings and paintings onto the market. Picasso’s women washing themselves and doing their hair, interest in Degas was reignited, and for the rest of his rejecting mythological subject matter in favor of life he periodically produced suites of toilette scenes, contemporaneity. For Picasso too, women were never imitating Degas closely but acknowledging his always the prime subject, and as with Degas precedent by echoing his most characteristic poses portraits of women in his circle coexist with generic and devices. images of nudes. In 1906, when toilette scenes Pablo Picasso Edgar Degas Woman Plaiting Her Hair Woman Ironing 1906 - Oil on canvas - 127 x 90,8 cm 1876-1887 - Oil on canvas - 81,3 x 66 cm The Museum of Modern Art, New York. National Gallery of Art, Washington, Florence May Schoenborn Bequest, D.C. Collection of Mr. and Mrs. Paul Mellon 1996 (826.1996) - © Succession Pablo Picasso, (1972.74.1) - © courtesy The Board of Trustees, VEGAP, Madrid 2010 National Gallery of Art, Washington, D.C. (photo Lee Ewing) Edgar Degas Pablo Picasso Portrait of a woman in grey Portrait of señora Canals c. 1865 - Oil on canvas - 91,4 x 72,4 cm 1905 - Oil on canvas. 90 x 69,5 cm. The Metropolitan Museum of Art, Museu Picasso, Barcelona (MPB 4.266) New York. Mr. and Mrs. Edwin C. Vogel donation, © Succession Pablo Picasso, 1957 (57.171) - © The Metropolitan Museum of Art / VEGAP, Madrid 2010 Art Resource, New York (photo Malcolm Varon) Pablo Picasso Edgar Degas The Blue Room (The Tub) Combing the Hair (La Coiffure) 1901 - Oil on canvas - 50,5 x 61,6 cm c. 1896 - Oil on canvas - 114,3 x 146,7 cm The Phillips Collection, Washington, The National Gallery, London. Acquired 1937 D.C. Acquired 1927 (1554) (NGL 4865) - © The National Gallery, London © Succession Pablo Picasso, VEGAP, Madrid 2010 EXHIBITION ROOM 3 Women and their Private World Pablo Picasso The Blue Room (The Tub) Edgar Degas Woman Ironing This vivid painting shows the apartment Picasso Degas made many paintings of Parisian laundresses rented after his successful exhibition at Ambroise at work, showing both their drudgery and the bareness Vollard’s gallery in 1901 (some unsold pictures of their surroundings. In this superb example he and a poster by Toulouse-Lautrec are shown on emphasized the muscular effort of the woman’s the walls). Posing his model in a zinc tub, Picasso task and noted the bowl of water used for dampening paid homage to Degas’s bathing scenes, including clothes, both features that Picasso “borrowed” for his the lithograph shown nearby.
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