Picasso's Lovers

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PICASSO’S LOVERS Photographs by Cristina Vatielli The exhibition of photographs by Cristina Vatielli, curated by Annalisa D’Angelo, draws inspiration from the theatrical work Loves of Picasso by Terry D’Alfonso. Eight large portraits represent the women who mostly influenced the sentimental and artistic life of Picasso: Olga Khokhlova, Eva Gouel, Fernande Olivier, Marie Thérèse Walter, Dora Maar, Francoise Gilot, Gaby Depeyre, Jacqueline Roque. The photographer declares: “I choose the self-portrait for the desire of loosing myself in the character of each of these women, who were deeply unlike, but necessarily connected by the completely captivating love for the same man”. The analysis of the character and the psychology of the lovers suggested the locations of the shootings, as reflection of their soul. The costumes, realized by Fabric Factory, date from the first half of the 1900 and in the photographic transposition become actual explanation of their story. Almost all of them were submitted by the power of the love they dedicated to the painter, often with dramatic consequences. Very attractive women, some belonging to the world of the artists, some others extremely young and ignoring who they were facing, they became in turns - but also more than one at a time - his muses, models, mistress, sacrificial victims. Cristina Vatielli was born in Rome. She began working in the photography field as an assistant mainly specialized in photo postproduction. Since 2004 Cristina has been collaborating with Paolo Pellegrin and many others photographers. After she was represented by Prospekt agency, she works now as a freelancer. In 2009 she won the Enzo Baldoni Award and in the 2012 the multimedia “LunaPark” won the Honorable Mention in Moving Images of the IPA (International Photography Awards). Her last project Le Donne di Picasso have received recognition by IPA, MIFA (Moscow International Foto Awards) and Sony Awards. .

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A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements.
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Press Information
PRESS INFORMATION PICASSO IN ISTANBUL SAKIP SABANCI MUSEUM, ISTANBUL 24 November 2005 to 26 March 2006 Press enquiries: Erica Bolton and Jane Quinn 10 Pottery Lane London W11 4LZ Tel: 020 7221 5000 Fax: 020 7221 8100 [email protected] Contents Press Release Chronology Complete list of works Biographies 1 Press Release Issue: 22 November 2005 FIRST PICASSO EXHIBITION IN TURKEY IS SELECTED BY THE ARTIST’S GRANDSON Picasso in Istanbul, the first major exhibition of works by Pablo Picasso to be staged in Turkey, as well as the first Turkish show to be devoted to a single western artist, will go on show at the Sakip Sabanci Museum in Istanbul from 24 November 2005 to 26 March 2006. Picasso in Istanbul has been selected by the artist‟s grandson Bernard Ruiz-Picasso and Marta-Volga Guezala. Picasso expert Marilyn McCully and author Michael Raeburn are joint curators of the exhibition and the catalogue, working together with Nazan Olçer, Director of the Sakip Sabanci Museum, and Selmin Kangal, the museum‟s Exhibitions Manager. The exhibition will include 135 works spanning the whole of the artist‟s career, including paintings, sculptures, ceramics, textiles and photographs. The works have been loaned from private collections and major museums, including the Picasso museums in Barcelona and Paris. The exhibition also includes significant loans from the Fundaciñn Almine y Bernard Ruiz-Picasso para el Arte. A number of rarely seen works from private collections will be a special highlight of the exhibition, including tapestries of “Les Demoiselles d‟Avignon” and “Les femmes à leur toilette” and the unique bronze cast, “Head of a Warrior, 1933”.
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Fernande OLIVIER Née Amélie LANG Le 6 Juin 1881 À 14H À Paris 6E Selon Acte N°1405 – Archives Paris En Ligne – 1881 – V4 E 3230 – Vue 15/31
Chorégraphe, peintre et mannequin, elle est la muse et la première des compagnes de Picasso avant de le quitter en 1912. Fernande OLIVIER Née Amélie LANG le 6 juin 1881 à 14h à Paris 6e Selon acte n°1405 – Archives Paris en ligne – 1881 – V4 E 3230 – vue 15/31 Décédée le 29 janvier 1966 à Neuilly-sur-Seine 92- Hauts-de-Seine Elle rencontre Picasso au Bateau-lavoir… Appelé ainsi par Max Jacob, en raison de son unique point d’eau, les ateliers du Bateau-lavoir dans le 18e arrondissement de Paris attirent nombre d’artistes en tous genres et marchands d’art à l’aube du 20e siècle. Glacé en hiver, fournaise en été, ce qui devient vite le royaume des peintres de Montmartre, exige une santé de fer. Le confort y est des plus rustiques comme l’indique plus tard Fernande dans son livre Picasso et ses amis préfacé par Paul Léautaud et édité en 1933 chez Stock : Un sommier sur quatre pieds dans un coin. Un petit poêle de fonte tout rouillé supportant une cuvette ; une serviette, un bout de savon étaient posés sur une table de bois blanc à côté. [...] des chevalets, des toiles de toutes dimensions, des tubes de couleurs éparpillés par terre, des pinceaux.» Et en 1907, c’est dans ce dénuement total, parfois illuminé par la présence de jolies femmes dont Fernande Olivier, que Pablo Picasso vient d’achever Les Demoiselles d’Avignon. L’une d’elles serait Fernande. Quelque peu effrayé par la nouveauté de son œuvre, Picasso hésite à la montrer.
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KEES VAN DONGEN From 11th June to 27th September 2009 PRESS CONFERENCE 11th June 2009, at 11.30 a.m. INAUGURATION 11th June 2009, at 19.30 p.m. Press contact: Phone: + 34 93 256 30 21 /26 Fax: + 34 93 315 01 02 [email protected] CONTENTS 1. PRESENTATION 2. EXHIBITION TOUR 3. EXHIBITION AREAS 4. EXTENDED LABELS ON WORKS 5. CHRONOLOGY 1. PRESENTATION This exhibition dedicated to Kees Van Dongen shows the artist‘s evolution from his student years to the peak of his career and evokes many of his aesthetic ties and exchanges with Picasso, with whom he temporarily shared the Bateau-Lavoir. Born in a suburb of Rotterdam, Van Dongen‘s career was spent mainly in Paris where he came to live in 1897. A hedonist and frequent traveller, he was a regular visitor to the seaside resorts of Deauville, Cannes and Monte Carlo, where he died in 1968. Van Dongen experienced poverty, during the years of revelry with Picasso, and then fame before finally falling out of fashion, a status he endured with a certain melancholy. The exhibition confirms Kees Van Dongen‘s decisive role in the great artistic upheavals of the early 20th century as a member of the Fauvist movement, in which he occupied the unique position of an often irreverent and acerbic portraitist. The virulence and extravagance of his canvases provoked immediate repercussions abroad, particularly within the Die Brücke German expressionist movement. Together with his orientalism, contemporary with that of Matisse, this places Van Dongen at the very forefront of the avant-garde.
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Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor.
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Picasso's Sculpture Head of a Woman
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Pablo Picasso 1881-1973
Pablo Picasso 1881-1973 Taureao et torero Papier découpé de papier nappe gauffré, collé sur un papier de couleur rouge et réhaut d’encre, signé en bas à gauche Dimensions : 36 x 51 cm Dimensions : 14.17 x 20.08 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Pablo Picasso 1881-1973 Dimensions with frame : 61,5 x 76 cm Dimensions with frame : 24.02 x 29.92 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Pablo Picasso 1881-1973 Biography Picasso was born in October 1881 in Malaga. He began working with his father who taught him drawing and painting. In 1900, Picasso moved to Paris where he represented Spain during the Universal Exhibition. He found in the French capital an inspiring environment. The death of his friend Casagemas was a violent artistic rupture and engaged him on his melancholic blue period (1901-1904). Looking for a language breaking with the academic realism, Picasso developed a style with a new plastic language. In 1904, the artist was living in the Bateau-Lavoir and met Fernande Olivier, opening the way to his pink period (1904-1906). Lines and drawing dominated his works where we find masks, circus and zoo elements. These years were marked by his meeting with Gertrude and Leo Stein and the making of one of his most famous painting: " Les Demoiselles d'Avignon ".
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Download a Large Print Guide
Large Print Picasso and Paper In order to adhere to social distancing measures and to keep our staff and visitors safe, physical copies of the large print exhibition guides will no longer be available in the galleries. To help you make the most of your visit to the Royal Academy, our large print exhibition guides are available to download as PDFs. No app is required. They are freely available in each exhibition’s section of our website. Simply download the file to your device, then read – or follow the below instructions to listen to the introductions and labels as you go round. iOS devices • On your iPhone, go to “Settings”. Next, tap “Accessibility”. • Hit “Spoken Content”, then tap the toggle switch for “Speak Selection” to switch it on. • You can now customise the speech rate, default language and listen to an audio sample. • After that, go to your iOS PDF reader, and open a PDF file. • Highlight the text that you want to read and tap “Speak”. 36 Android devices • To use Google Text-to-speech on your Android device, go to “Settings”. Next, tap “Language & Input”. • Select “Text-to-speech output”, and then choose Google Text-to-speech Engine as your preferred engine. • You can now customise the speech rate, default language and listen to an audio sample. • To hear items read aloud, tap the Select to Speak icon, then click on a specific word, or drag your finger across the screen to select a longer passage of text, and tap the play button to begin the text-to-speech playback.
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Exhibition - 15Th Jul
PICASSO BATHERS EXHIBITION - 15TH JUL. 2020 – 3TH JAN. 2021 PRESS KIT EXHIBITION CURATORS Sylvie RAMOND, Director General of Pôle des musées d’art de Lyon MBA MAC Chief Curator, Director Musée des Beaux-Arts de Lyon and Émilie Bouvard, Director of Collections and Scientific Programme, Fondation Giacometti, Paris The exhibition is organized in collaboration with the Musée national Picasso-Paris The exhibition is supported by the Club du musée Saint-Pierre, main sponsor of the exhibition. Cover : Pablo Picasso, Joueurs de ballon sur la plage, Dinard 15 août 1928. Huile sur toile. Paris, Musée national Picasso - Paris. © Succession Picasso 2020. Photo © RMN-Grand Palais (Musée national Picasso - Paris) /René-Gabriel Ojéda PICASSO. BATHERS 4 1. BATHERS AND MODERNITY 5 2. 1908. BATHERS IN THE WOOD 6 3. 1918-1924. ANCIENT SHORES, 7 MODERN SHORES THE FORESHORE 8 4. 1927-1929. METAMORPHOSES 9 5. 1930-1933. PLASTER, BRONZE, 10 AND BONE: THE THIRD DIMENSION 6. 1937. STONE BATHERS 12 7. 1938-1942. WAR BATHERS 14 8. 1955-1957. THE BATHERS 15 9. THE LAST BEACH GAMES 16 PICASSO AND LYON 17 PABLO PICASSO, BIOGRAPHY 18 Practical information 21 PICASSO. BATHERS Pablo Picasso was born in 1881 in Malaga, on the The exhibition is based around Woman Seated on the Mediterranean. He grew up on the Atlantic shore Beach of February 10, 1937, a painting by Picasso that in La Coruna, then in Barcelona. He lived in Paris was bequeathed to the Fine Arts Museum of Lyon from 1904 to 1948, and spent summers in Biarritz, in 1997 by the actress and collector Jacqueline Cannes, or Dinard.
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Picasso Is 23 at the Beginning on 1905 and His Living in The
Pi c a s s o’s Paintings, Watercolors, Drawings and Sculpture A Comprehensive Illustrated Catalogue 1885–1973 By The Picasso Project The Rose Period - 1905–1906 Paris, Holland and Gósol ISBN 1-55660-328-2 ISBN 13: 978-1-55660-328-0 Publication date: Late May - -- Early June, 2012. $150.00. 9-1/8 x 12-1/4 inches. 23 x 31 cm. Cloth in dust-jacket. 368 pages. 1120 works described and reproduced. 8 color plates. ********************************* Picasso is 23 at the beginning on 1905 and is living in the Montmartre section of Paris in a famous artist’s compound called le Bateau-Lavoir. He is surrounded by artists and intellectuals, both French and foreign. The poets such as Guillaume Apollinaire, Max Jacob, André Salmon and Jean Moréas have an impact on his thinking and imagery. The gaunt and unhappy characters of the Blue Period are replaced by ethereal and romantic figures, suffused with symbolism in Picasso’s new Rose Period. Picasso also has lovers, whom he memorializes in his work. The year begins with portraits of an actor (1905-001 and 1905-002), one of which has a couple of marginal profiles of the woman who will become his major companion for the next few years, Fernande Olivier. These are followed by four portraits his other lover, the mysterious Madeleine looking lovely and desirable (pp. 2-3). Thereafter the artist begins his important series of acrobats and circus performers – the harlequins and saltimbanques. He then does a series on an organ grinder, often with his monkey (pp. 7-9).
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Picasso's Drawings, 1890-1921: Reinventing Tradition January 29, 2012 - May 6, 2012
Updated Monday, January 9, 2012 | 3:16:48 PM Last updated Monday, January 9, 2012 Updated Monday, January 9, 2012 | 3:16:48 PM National Gallery of Art, Press Ofﬁce 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Picasso's Drawings, 1890-1921: Reinventing Tradition January 29, 2012 - May 6, 2012 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Title Title Section Raw Pablo Picasso Pablo Picasso Young Woman Seated in an Armchair, Paris, 1921/1922 Display Order Young Woman Seated in an Armchair, Paris, 1921/1922 brush and ink with white heightening on prepared paper brush and ink with white heightening on prepared paper 27.1 x 23.7 cm (10 11/16 x 9 5/16 in.) Title Assembly Young Woman Seated in an Armchair 27.1 x 23.7 cm (10 11/16 x 9 5/16 in.) National Gallery of Art, Washington, The John U.
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Picasso the Early Years 1892–1906 N Ational Gallery of Art Was H I N G to N March 30 –July 27, 1997
Picasso The Early Years 1892–1906 n ational gallery of art was h i n g to n March 30 –July 27, 1997 Bell Atlantic is proud to sponsor this great exhibition Pablo Picasso’s impact on the history of mo d e r n art has been profound. His early development was complex and innova- tive, constituting a subject of surprising depth. This exhibition is the ﬁrst com- pr ehensive survey of Picasso’s art before cubism, from the academic and rea l i s t work of his youth to his emergence as a brilliant stylist in late 1906. Early Youth Pablo Ruiz Picasso was born on October 25, 1881, in the Spanish coastal town of Málaga, where his father, José Ruiz Blasco, was an art instructor at a provincial school. Picasso began to draw under his father’s tutelage and studied in various art schools between 1892 and 1897, including academies in Barcelona and Madrid. Working from live models as well as plaster casts of Greek and Roman sculpture (no. 2), the young artist displayed a precocious com- mand of academic draftsmanship that would be evi- dent throughout his career, later serving as the ve- hicle for some of his most original work. In addition to academic classicism, Picasso’s stu- dent work manifested a less idealized manner of representation in genre subjects and portraiture. The artist executed many family portraits at this time and depictions of local ﬁgures such as an old sailor named Salmerón (no. 7), who was hired as a model by Picasso’s wealthy uncle in Málaga.
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