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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 The Old Fisherman Self-Portrait 1895 - Oil on canvas - 83 x 62,5 cm c.1857-1858 - Oil on paper mounted on canvas Museu de Montserrat, Barcelona. 26 x 19 cm - Sterling and Francine Clark Art Institute, Gift of Joseph Maria Sala i Ardiz (N.R 200.502) Williamstown, Massachusetts (1955.544) © Succession Pablo Picasso, © Sterling and Francine Clark Art Institute, VEGAP, Madrid 2010 Williamstown, Massachusetts, USA Photo by Michael Agee) Pablo Picasso Self-Portrait 1896 - Oil on canvas - 32,9 x 24 cm Museu Picasso, Barcelona (MPB 110.076) © 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 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 4 The Ballet: Homage and Humor Degas was known to Picasso’s generation as “The were displayed in Paris after the artist’s death in Painter of Dancers.” Picasso showed little interest 1917. By this date Picasso was working on stage in ballet as a young man, but later a growing and costume designs for the ballet impresario Serge fascination with Degas’s art gradually extended to his Diaghilev, and had met his future wife, the ballerina dance imagery. During Picasso’s early years in Paris, Olga Khokhlova. Just as Degas had depicted he made several startling responses to Degas’s dancers on the stage and in the classroom, Picasso celebrated Little Dancer Aged Fourteen, which he made studies of Olga and the Diaghilev company. probably knew through hearsay and reproductions Roughly a decade later, Picasso also created a of its preparatory studies. He became more familiar series of small plaster figures that recall bronzes of with Degas’s ballet pictures when large numbers dancers by Degas he had seen in a recent exhibition. Edgar Degas Edgar Degas Dancers in the Classroom Little Dancer Aged Fourteen c. 1880 - Oil on canvas - 39,4 x 88,4 cm 1879-1881 - Bronze, with gauze tutu and silk Sterling and Francine Clark Art Institute, ribbon, on wooden base - height 99 cm - Sterling Williamstown, Massachusetts (1955.562 and Francine Clark Art Institute, Williamstown, © Sterling and Francine Clark Art Institute, Massachusetts (1955.45) - © Sterling and Francine Williamstown, Massachusetts, USA Clark Art Institute, Williamstown, Massachusetts, (Photo by Michael Agee) USA (Photo by Michael Agee) Pablo Picasso Pablo Picasso The Dwarf Yellow Nude 1901 - Oil on cardboard - 105 x 60 x 0,4 cm 1907 - Watercolor, gouache, and India ink on paper Museu Picasso, Barcelona (MPB 4.274) 59,8 x 39,5 cm - Gretchen and John Berggruen, © Succession Pablo Picasso, San Francisco - © Succession Pablo Picasso, VEGAP, Madrid 2010 VEGAP, Madrid 2010 EXHIBITION ROOM 5 Picasso’s Bather-Dancers Degas made sculptures in wax, clay, and other seen this exhibition and may have been inspired materials throughout much of his career but to make some plaster sculptures of dancer-like exhibited only one in public: Little Dancer Aged figures on a similar scale. Witty and imaginative, Fourteen. After his death in 1917, seventy-four Picasso’s dancer-bathers seem to acknowledge his surviving sculptures — many of them representing predecessor without imitating him. nude ballerinas — were cast in bronze. They were then exhibited widely, including an important display in Paris in 1931. Picasso is known to have Pablo Picasso Edgar Degas Running Woman Grand Arabesque, Second Time 1931-1932 - Plaster and wood - height 52 cm c. 1880’s - Bronze - height 48,2 cm Private collection - © Succession Pablo Picasso, Sterling and Francine Clark Art Institute, Williamstown, VEGAP, Madrid 2010 Massachusetts (1955.47) - © Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA (Photo by Michael Agee) EXHIBITION ROOM 6 Brothel Scenes: the Artist as Voyeur The monotypes depicting life in Parisian brothels late work that his admiration found its most explicit that Degas created in the late 1870s had a unique expression. Echoes of Degas’s imagery and techni- appeal for Picasso, whose own earliest images of que abound in numerous prints produced in 1968, prostitution were produced shortly before his first and in March 1971 Picasso began a series of thirty- visit to Paris in 1900. It may have been Ambroise nine etchings in which Degas appears as a client Vollard — the gallery dealer who hosted Picasso’s visiting a brothel. Convinced that Degas resembled first Parisian exhibition in 1901 — who introduced his own father, and regarding him as an alter ego, the young Spaniard to this little-known aspect of the Picasso continued to portray Degas in his drawings Frenchman’s work. Between 1958 and 1960 Picasso until a few months before his death, at age ninety- realized a long-standing ambition when he acquired one, in April 1973.
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