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 EXHIBITION IN TURKEY IS SELECTED BY THE ARTIST’S GRANDSON

Picasso in Istanbul, the first major exhibition of works by 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 and . 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”. One of the highlights of the selection is a group of late paintings of musketeers, warriors, lovers and bullfighters, which were chosen by Picasso to be included in his last exhibition, held at the Palais des Papes in Avignon in 1973. The exhibition will also feature remarkable photographs of Picasso, his studios and members of his intimate circle.

A fully illustrated catalogue, with essays by Picasso friends and experts, published in both Turkish and English, will be the first book of its kind on Picasso in Turkey and will provide a basis for further investigation about the artist. The catalogue includes memoirs by John Richardson and Turkish artist, Abidin Dino, and an introduction to the life and work of the artist by Marilyn McCully as well as an excerpt from Michel Leiris‟s celebrated text about the artist and his model. A series of related events, including lectures and films, will be presented throughout the period of exhibition.

The exhibition, sponsored by Sabanci Holding, is organised in collaboration with the Fundaciòn Almine y Bernard Ruiz-Picasso para el Arte and with the contributions of the French Institute of Istanbul.

2 Note to Editors: Bernard Ruiz-Picasso is the grandson of Pablo Picasso and his first wife . He was born in 1959. He is Chairman of the Museo Picasso Málaga.

Sakip Sabanci Museum: The Sakıp Sabancı Museum, founded in 2002, is part of Sabancı University, one of the leading institutions of higher education in Turkey. The Museum is situated on a picturesque hill overlooking the Bosphorus in Istanbul, on the grounds of what used to be the Sabancı Family residence. It houses a rich and representative collection of Ottoman calligraphy as well as Turkish painting from the 19th century onwards. The exhibition spaces occupy a total of 6500 square metres, including a state-of-the-art annex completed in 2005. Upcoming exhibitions include an exhibition of medieval Islamic and Christian manuscripts from the outstanding collection of the Museu Calouste Gulbenkian in Lisbon. A retrospective exhibition of the works of Auguste Rodin, drawn principally from the Museé Rodin in Paris, will follow in 2006. http://muze.sabanciuniv.edu/english/

PRESS ENQUIRIES: BOLTON & QUINN, 020 7221 5000 (5 Lines) FOR ENQUIRIES WITHIN TURKEY: MUJDE GUNSELI GUNDUZ, GOZDE GUNAL, A&B COMMUNICATIONS +90 212 233 22 38

3 Pablo Picasso 1881 - 1973 A chronology of his life and work

1881 Birth in Málaga, Spain, of Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Crispín Crispiniano Santísima Trinidad, son of José Ruiz Blasco and María Picasso Lñpez. Pablo‟s sisters Lola and Conchita are also born in Málaga. 1891 The family moves to La Coruða. Pablo studies drawing from plaster casts at the local art academy; his father arranges for his son to paint from live models. Conchita dies of diphtheria in January 1895. 1895 Pablo exhibits paintings in a shop on the Calle Real in La Coruða; a local critic predicts that the fourteen-year old “has a glorious and brilliant future ahead of him.” After summer in Málaga, the family moves to Barcelona, where Pablo enters the School of Fine Arts (La Llotja). He shares a little studio with classmate Manuel Pallarès, who will remain the artist‟s friend for life. 1897 In October he enters the San Fernando Academy in Madrid. 1898 Pablo contracts scarlet fever and leaves Madrid; he recuperates for the second half of the year in Pallarès‟s village, Horta de Ebro. They witness the return from Cuba of penniless and barefoot soldiers. 1899 Pablo returns to Barcelona in February; he frequents the Bohemian group of artists and writers who meet at the tavern-restaurant .

4 1900 First one-man show at Els Quatre Gats (February); in October he travels with his friend to Paris to see the Exposition Universelle, where his painting Last Moments is shown in the Spanish Pavilion. 1901 After a short trip to Málaga, Picasso moves to Madrid, where he works as Art Editor on a new journal, Arte Joven. Picasso decides to quit Madrid in the spring, returning first to Barcelona and then on to Paris to prepare for his first show there at Ambroise Vollard‟s gallery. According to the poet Max Jacob, “He was accused of imitating Steinlen, Lautrec, Vuillard, Van Gogh, etc., but everyone recognized that he had a fire, a real brilliance, a painter‟s eye.” Picasso claims that the suicide of his friend Casagemas (in February) triggered the Blue period (late 1901-mid-1904), in which the predominant colour of his palette is blue. 1902 He returns to Barcelona and works on subjects that deal with human misery. Back in Paris in the autumn, he does paintings of the women inmates at the Saint-Lazare prison. 1903 He spends most of the year in Barcelona, where he paints an important series of images of destitution, old age and blindness, which have their origins in older Spanish painting. 1904 Picasso moves to Paris in April and takes a studio in Montmartre. Among his new friends are the writers André Salmon and the poet and critic . Picasso meets , an artist‟s model; she is the inspiration for many works in all media throughout this period. The palette of the Rose period (1904-06) changes to predominantly pink or flesh tones; new subjects include the circus. 1905 Picasso spends several weeks (without Fernande) during the summer in Holland, where he paints and draws the local girls.

5 1906 Vollard buys out the contents of the artist‟s studio in the spring; with the money, Picasso and Fernande leave Paris for Gñsol. The artist works with great energy, concentrating on a sculptural approach to his compositions. 1907 For the first half of the year Picasso is at work on his large composition Les Demoiselles d‟Avignon. He visits the Musée de l‟Homme, where he is impressed with tribal art. His circle widens to include Georges Braque and the German dealer Daniel-Henry Kahnweiler, who represents both artists in the following years. 1908 Picasso and Fernande spend August-September outside Paris in La Rue-des-Bois. When he returns to Paris, he and Braque compare their summer‟s canvases. Braque‟s landscapes done at L‟Estaque, near Marseille, are exhibited in the autumn and are described as “bizarre little cubes”, giving birth to the name „‟. 1909 Picasso and Braque begin to visit each other‟s studios in Montmartre on a frequent basis. Picasso and Fernande go to Spain in May, stopping first in Barcelona, moving on to Horta de Ebro. Picasso has a camera with him and photographs the locals, the village and his atelier. He paints cubist landscapes and portraits. 1910 Picasso does portraits of three dealers: Vollard (who gives him his first retrospective at the end of the year), the Germans Kahnweiler and Wilhelm Uhde. At the invitation of his old friend Ramon Pichot, Picasso and Fernande spend the summer in Cadaquès. 1911 Picasso and Fernande spend the summer in Céret. Upon the Picasso‟s return to Paris, he and Apollinaire, who both have stolen Iberian sculptures in their possession, are suspected of involvement in the theft of Mona Lisa (21 August). Picasso goes free, but Apollinaire spends some days in jail.

6 Picasso and Eva Gouel begin a secret affair; he refers to her in his work with the song title, Ma Jolie. 1912 A new phase of cubism is initiated with Picasso‟s use of house paint and the introduction of collage. Later in the year, Braque adds printed papers to his drawings to make the first papiers collés. In the spring Picasso and Fernande break up; he leaves Paris for the south with Eva. 1913 Picasso and Eva spend part of the spring and summer in Céret, where Max Jacob joins them. Picasso‟s father don José dies in early May. 1914 In the spring Eva has an operation for cancer. She goes with Picasso to Avignon for the summer. He makes a brief visit to Paris at the end of July to withdraw all of his money from the bank. After the declaration of war, Picasso and Juan Gris (as non-combatant Spaniards) remain in , while Braque, Derain, Léger and Apollinaire enlist. Kahnweiler spends the war in Switzerland. Picasso and Eva return to Paris in November. 1915 During the war years, Picasso associates with a new circle of artists and writers, including Modigliani, Jean Cocteau, Jacques Lipchitz and Diego Rivera. Braque is wounded. Eva enters a clinic and dies on December 14. 1916 Apollinaire is wounded. Picasso agrees to work with Cocteau and the composer Erik Satie on the décor for for Diaghilev‟s Ballets Russes. 1917 Picasso and Cocteau leave for Rome in February to work on Parade. Picasso becomes friendly with the ballet‟s choreographer, the dancer Léonide Massine, with whom he and Cocteau visit Pompeii, and the composer Igor Stravinsky. Among the dancers, he meets his future wife 7 Olga Khokhlova. Parade is premièred in Paris (18 May); afterwards the Ballets Russes travel to Spain, and Picasso joins them. He and Olga spend the summer in Barcelona, returning to Paris in late November. 1918 Picasso and Olga marry in July and spend their honeymoon in Biarritz at the home of Chilean art patron Eugenia Errazuriz Picasso begins his association with the dealer Paul Rosenberg, who finds him an apartment/studio next to his gallery on rue la Boétie, on the Right Bank. Picasso‟s great friend Apollinaire dies (9 November). 1919 Picasso, accompanied by Olga, travels to London (May) to work on sets and costumes for the Ballets Russes production of Tricorne, with music by Manuel de Falla and choreography by Massine. At the end of July, Picasso and Olga go to Saint-Raphaël in the south of France. The artist works on a series of still lifes, looking out from his hotel room onto the Mediterranean. 1920 Picasso is at work on the ballet, (music: Stravinsky, choreography: Massine), first performed at the Opéra (15 May). Picasso and Olga, who learns she is pregnant, spend the summer at Juan-les-Pins. 1921 Birth of Picasso and Olga‟s son Paulo (4 February). Picasso works on the décor of Cuadro Flamenco, a Ballets Russes production, with Spanish flamenco dancers and music adapted by de Falla, which premières at the Gaïté-Lyrique in May. The Picasso family spends the summer at Fontainebleau, where the artist produces monumental cubist and classicizing compositions, including two versions of the . 1922 The Picassos spend the summer in Dinard. Late in the year Picasso designs sets for Cocteau‟s adaptation of Sophocles‟ Antigone, with costumes by Coco Chanel. 8 1923 Picasso, Olga and Paulo spend the summer in the south, staying at the Hótel du Cap at Antibes. On his return to Paris, Picasso is taken up by André Breton, Louis Aragon and other surrealists; in the following years his cubist and later works are published in surrealist journals. 1924 Picasso collaborates with Massine and Satie on the Soirées de Paris production (18 June), financed by Beaumont, of , an experimental ballet much admired by the surrealists, who publish an “Hommage à Picasso” in Paris-Journal. Picasso takes his family to Juan-les-Pins for the summer. 1925 Picasso and his family return to Juan-les-Pins for the summer, where they see the Picabias, who live nearby. 1926 The Picasso family again goes to Juan-les-Pins for the summer. On their way to visit his family in Spain in the autumn, the canvases strapped to the top of his car are stolen. While he is in Barcelona, he sees works by Salvador Dalí for the first time. The Greek Christian Zervos founds the journal Cahiers d‟Art, which over the years frequently features works by Picasso; Zervos begins in 1932 to publish the 33-volume catalogue raisonné of Picasso. 1927 Early in January, Picasso meets the seventeen-year-old Marie-Thérèse Walter; their affair is kept secret for several years, although coded references to her (including her initials) begin to appear in his work. During the summer, in with his family, he draws biomorphic bathers that reflect the eroticism and sensuality associated with his new mistress. 1928 Picasso does the first of his tapestry designs, a Minotaur, for Marie Cuttoli.

9 In the spring he begins his collaboration on soldered and welded sculptures with the sculptor Juli González. Picasso takes Olga and Paulo to Dinard for the summer; Marie-Thérèse stays in another part of town. 1929 Picasso paints images of screaming women set against his own profile; in May he does a series of bathers on a beach in Normandy. The family once again spends the summer in Dinard; Marie-Thérèse is also there with her two sisters. Picasso and González are at work on Woman in the garden. 1930 June: Picasso buys the château de Boisgeloup, and sets up a sculpture studio there. During his summer vacation at Juan-les-Pins, he makes sand-covered reliefs. On his return to Boisgeloup in September, he works on etchings for Ovid‟s Metamorphoses, published the following year by Albert Skira. 1931 At Boisgeloup Picasso does a series of monumental plaster sculptures, based primarily on the features and voluptuous body of Marie-Thérèse. He spends the summer with Olga and Paulo in Juan-les-Pins. 1932 225 paintings, 7 sculptures and 6 illustrated books are shown in the Picasso exhibition that opens at the Galerie Georges Petit in June; the show travels to the Kunsthaus Zurich in the autumn. Picasso and Olga spend their summer holidays apart; he stays at Boisgeloup with Marie- Thérèse. 1933 In the summer he vacations with Olga and Paulo in Cannes; they also visit Picasso‟s family in Barcelona.

10 1934 Coinciding with visits to Spain in 1933 and 1934, Picasso returns to the subject of the bullfight, which he merges with the Minotaur in his graphic work. On the last trip he was to make to his native country (August-September), he visits San Sebastián, Burgos, Madrid, Toledo, Zaragoza and Barcelona, accompanied by Olga and Paulo. 1935 Picasso‟s domestic situation is in turmoil; from May to February 1936 he gives up painting and instead writes poetry. Picasso and Olga separate (they never divorce). September: Marie-Thérèse gives birth to a daughter, Maya. 1936 Picasso does a stage curtain design for a revival of Romain Rolland‟s play, Le 14 juillet; a new woman in his life, photographs the making of the curtain. During the summer and autumn, Picasso and Dora are in . He is forced to give up Boisgeloup as part of the division of property with Olga; he works for a time in a studio at Vollard‟s house at Le Tremblay-sur-Mauldre, where he installs Marie- Thérèse and Maya. 1937 January: Picasso is commissioned to paint a mural for the Republican pavilion at the Paris World‟s Fair; in order to work on the canvas, he acquires a new studio, which Dora finds for him at 7, rue des Grands Augustins. After the German bombing of the Basque town of (26 April), Picasso takes this outrage as the theme of his mural. The Spanish pavilion opens on 12 July. The exhibition receives 30 million visitors before closing on 26 November. He and Dora spend the summer in Mougins. 1938 In the summer Picasso and Dora again stay at Mougins. Guernica and related studies are shown in England and (in 1939) the United States; the painting remains at The Museum of Modern Art, New York, until 1981, when it returns to Spain (Prado, then Centro de Arte Reina Sofia, Madrid). 11 12 1939 Picasso‟s mother dies on 13 January; he does not return for the funeral because of the Civil War. An exhibition of 33 still lifes from 1936-38 is the last major show of Picasso‟s work in Paris until 1944. In the summer Picasso and Dora stay in Man Ray‟s studio in Antibes. On 1 September Picasso and Dora move to Royan (on the Garonne Estuary), where Marie- Thérèse and Maya are already installed. 1940 Late August: Picasso and Dora return to occupied Paris for the duration of the war. Marie- Thérèse and Maya return the following year. Many of Picasso‟s friends are in the Resistance and consider Picasso‟s anti-fascist politics sympathetic with their own. 1941 One of the wartime meeting places for Picasso and his friends, including Braque, writers Paul Eluard, Michel Leiris, Robert Desnos, Albert Camus, Jean-Paul Sartre and Simone de Beauvoir, and composer Georges Auric, is the restaurant Le Catalan on rue des Grands Augustins. 1943 Picasso meets the young painter Françoise Gilot; she first appears in his work later in the year. 1944 Picasso‟s play, Le Désir attrapé par la queue (1941), is given a reading in Michel Leiris‟s apartment on 19 March, under the direction of Camus, with Sartre, Beauvoir, Leiris and Dora, among others, taking part. In August, during the Paris uprising, Picasso moves in with Marie-Thérèse and Maya. After the liberation of Paris, his rue des Grands Augustins studio becomes a gathering place for old friends as well as British and American soldiers. He joins the Communist party; this leads to demonstrations against him at the Salon de la Libération (6 October). 13 1945 Picasso begins making lithographs in the studio of Fernand Mourlot. 1946 Françoise begins to live with Picasso in Paris. In early July they go to the south of France; Picasso accepts an invitation to paint in the local museum (the Château Grimaldi, renamed Musée Picasso, Antibes). 1947 Françoise and Picasso‟s first child, Claude, is born (15 May); they go to Golfe-Juan at the end of June and stay in the south through the winter. From 26 July he begins working at the Madoura pottery in Vallauris. 1948 Picasso acquires La Galloise, a villa looking over the Vallauris potteries. In August, with Eluard, he attends the first Congress of Intellectuals for Peace at Wroclaw in Poland (25-28 August); he goes on to visit Cracow and Auschwitz. 1949 Picasso and Françoise‟s second child, Paloma, is born in Paris (19 April). Now a leading communist, Aragon chooses a Picasso lithograph of a for the poster to announce the Peace Congress in Paris (20-25 April). In the late spring, the family returns to Vallauris and Picasso rents Le Fournas, where he sets up studios for sculpture and painting; he also stores his ceramics there. At the end of October he travels to Italy to attend a meeting of the Committee for World Peace in Rome. 1950 A bronze cast of Man with a sheep is placed in the main square in Vallauris, with communist officials presiding at the inauguration. In October he attends the World Peace Conference in Sheffield, England; he is awarded the Lenin Peace prize in November. 1951 In response to the Korean War, Picasso paints (Musée Picasso, Paris), which he bases on Goya‟s Third of May, 1808 (1814). 14 1952 In the spring Picasso starts working on plans for the decoration of a medieval chapel in Vallauris as a temple of peace; he completes the panels at the end of the year and they are installed in 1954. In the summer he meets his future wife Roque Hutin, who is working at Madoura. 1953 In March a disagreement with officials of the Communist party over Picasso‟s portrait of Stalin, reproduced in Les Lettres françaises at the time of the Russian leader‟s death (5 March), leads him to distance himself from the party. He and Françoise begin to spend periods of time apart, leading to their break-up in the autumn. 1954 He and Jacqueline begin to live with each other in Paris in the late summer. After Matisse dies on 3 November, Picasso jokes that the older artist has “left him his Odalisques”, and in December he begins his series of variations on Delacroix‟s Algerian women and several versions of Jacqueline in Turkish costume. 1955 Picasso and Jacqueline move into the , above Cannes. 1956 Picasso begins working again in earnest on the theme of bathers and continues his paintings and drawings of “indoor landscapes” (based on his studio and garden at La Californie). 1957 During the year Picasso begins to collaborate with the Norwegian , who uses a sand-blasting technique to realize Picasso‟s maquettes (of cut-paper and other materials) in large concrete sculptures. 1958 Picasso completes The fall of Icarus; the mural painted on separate panels is installed at the UNESCO building, Paris, in September. At the end of the year, he buys the château de Vauvenargues at the foot of Montagne Sainte Victoire. 15 1959 Working with Hidalgo Arnera in Vallauris, Picasso produces several series of linocuts, including scenes of bullfights, nymphs and fauns. In June Picasso‟s Monument to Apollinaire, a bronze head of Dora Maar (1941) on a stone base, is dedicated in the churchyard of Saint-Germain-des-Prés in Paris. 1960 Picasso and Lionel Prejger begin a collaboration on cut sheet-metal sculptures. The artist does paintings of the Roman arena at Arles, where he and his entourage frequently attend bullfights (also at Nîmes and Fréjus) throughout the 1950s and 1960s. 1961 Picasso and Jacqueline marry and move to Notre-Dame-de-Vie in Mougins, where the artist sets up his last studio. He resumes work on ceramics with Madoura. 1962 He is awarded the Lenin Peace prize for the second time. 1963 Over the next two years Picasso paints “in a frenzy” a series of works relating to the theme of the Painter and his Model. In the spring he begins a fruitful collaboration with the brothers Piero and Aldo Crommelynck, master printers who set up a press in the old bakery at Mougins. In his last decade Picasso‟s life becomes more reclusive; many of his friends have died (Braque dies in February 1963, Cocteau in December). He welcomes a few old friends, including Pallarès, the poet Rafael Alberti and other Spanish-speakers, including the gypsy guitarist Manitas de Plata and the Argentinian photographer Roberto Otero. 1964 During this year Picasso completes the maquette for the freestanding sculpture Head of a woman, which is realized in Corten steel (18 metres high) and unveiled in the Chicago Civic Center in 1967.

16 1965 Newly invigorated themes appear in Picasso‟s work, including landscapes, and man and child/family; illness interrupts this period. 1966 In the spring the subject of the musketeer appears in full force in drawings and paintings; and in August he resumes working in earnest in printmaking. In November an Hommage à Picasso exhibition with over 700 works is held at the Grand Palais, the Petit Palais and the Bibliothèque Nationale in Paris. There are over 400,000 visitors before it closes in February 1967. 1967 He does paintings with specific references to Venus and Cupid, the circus and Spanish grandees with plumed hats and swords. 1968 Between 16 March and 5 October Picasso works with the Crommelynck brothers to produce the Suite 347, a suite of engravings, mixing various printmaking techniques and representing a compendium of characters from Picasso‟s world. 1969 Picasso works ever more intensely, especially in painting and graphic work: still lifes, nudes, musketeers and bearded men with long-stemmed pipes (with echoes of and of the golden age of Spanish painting), the theme of the kiss and staring figures. From 1 May to 30 September, 167 recent paintings and 45 drawings are exhibited at the Palais des Papes, Avignon. 1970 Picasso gives his youthful work, which has been kept by his family in Spain, to the , Barcelona. A second exhibition of late work in the Palais des Papes at Avignon (organized by Christian and Yvonne Zervos, both of whom die in the course of the year) opens in May. 1971 In October the Louvre exhibits a selection of his works in honour of his ninetieth birthday.

17 1972 Picasso‟s last paintings and drawings are intensely personal. His last dated works are done in this year, including poignant paintings of embracing couples, drawings of nudes and reclining figures (some of them in old age). 1973 On 8 April Picasso dies at Notre-Dame-de-Vie; he is buried on 10 April in the wall of the château de Vauvenargues. His widow has a bronze cast of Woman with a vase (original plaster, 1933) installed to mark his grave. Picasso‟s own selection of late work (1970-72) is exhibited at the Palais des Papes in Avignon in May-September, and his late ceramics are shown there in December.

18 Complete list of works

1 Barcelona, 1899 Bird (sparrow) charcoal and watercolour on paper La Coruða, 1895 Private collection oil on wood Private collection 8 Woman standing outside a café 2 Barcelona, 1899 Women kneeling by a stream (the washing charcoal on paper place) Private collection La Coruða, 1895 oil on wood 9 Private collection Woman outside a dance hall Barcelona, 1899 3 oil on canvas Seated woman Fundaciñn Almine y Bernard Ruiz-Picasso Barcelona, 1895 para el Arte pencil on paper Fundaciñn Almine y Bernard Ruiz-Picasso 10 para el Arte Self-Portrait Barcelona, c.1899, 4 pencil on paper The artist‟s family in the evening Private collection Velada familiar Barcelona, c.1896 11 oil on wood Head of a crying woman Museu Picasso, Barcelona Paris, January 1903 pen, sepia and black ink on paper 5 Musée Picasso, Paris Woman reading and caricatures Barcelona, 1896-97 12 charcoal on paper Woman wearing a shawl Fundaciñn Almine y Bernard Ruiz-Picasso Barcelona, 1903 para el Arte watercolour on paper Museu Picasso, Barcelona 6 Study for 13 Barcelona, winter-spring 1897 Shepherds resting under a tree watercolour on paper Barcelona, 1903 Museu Picasso, Barcelona violet ink and watercolour on paper Private collection 7 Spanish woman with a cigarette

19 14 21 Frugal repast Seated peasant woman Paris, 1904 Gñsol, summer 1906 etching and scraper on zinc indian ink on paper Musée Picasso, Paris Private collection

15 22 Study for The Couple Woman, boy and goat Paris, summer 1904 Gñsol, summer 1906 black chalk on wash tinted paper pencil and watercolour on paper Musée Picasso, Paris Fundaciñn Almine y Bernard Ruiz-Picasso para el Arte 16 Group of Saltimbanques 23 Paris, 1905 Woman seen from the back indian ink, watercolour and charcoal Gñsol, summer 1906 (?) outline on paper oil on canvas Musée Picasso, Paris Private collection

17 24 Two Saltimbanques Head of a woman Paris, 1905 Paris, autumn 1906 indian ink on paper oil on wood Fundaciñn Almine y Bernard Ruiz Picasso Private collection para el Arte 25 18 Self-Portrait studies Paris, autumn 1906 Paris, 1905 indian ink on paper indian ink on paper Private collection Private collection 26 19 Head of a man Head of a woman, Fernande Paris, May-June 1907 Paris, early 1906 (cast 1960) watercolour on paper bronze (brown patina) Private collection Private collection 27 20 Sketch for Les Demoiselles d’Avignon Portrait of Fernande Olivier Paris, June 1907 Gñsol, summer 1906 watercolour on paper wax crayon and pencil on paper Private collection Private collection

1 28 35 Seated nude man Man with a violin Paris, spring 1908 Céret, spring 1912 charcoal on paper wax crayon on paper Private collection Private collection

29 36 Standing nude Standing woman Paris, 1908 Paris, autumn 1912 pencil on paper indian ink on paper Private collection Private collection

30 37 Study of legs Bust of a man Paris, 1908 Paris, 1912 watercolour and charcoal on paper pencil on paper Private collection Private collection

31 38 Still life with fish and bottles Cubist composition (seated man with a hat) Paris, 1909 Paris, early 1913 oil on canvas oil and charcoal on canvas Musée d‟art moderne de Lille Métropole, Private collection Villeneuve d‟Ascq 39 32 Guitar player with a hat Cubist composition (standing nude) Céret, spring-summer 1913 Paris, autumn 1910 indian ink and tinted wash on paper, with oil on canvas inscriptions in brown ink Private collection Musée Picasso, Paris

33 40 Guitar player Seated man Paris, spring 1912 Avignon, summer 1914 pen and brown ink charcoal on paper Musée Picasso, Paris Private collection

34 41 Seated woman Seated man with a moustache Paris, spring 1912 Avignon, summer 1914 indian ink and pencil on paper charcoal on paper Private collection Private collection

2 42 49 Still life with a bottle of Vittel Woman with a hat, seated in an armchair Paris, 1915 (Olga) oil on canvas Juan-les-Pins, 15 July 1920 Private collection pencil on paper Private collection 43 Musical instruments and fruit bowl on a 50 round table Family at a religious ceremony Saint-Tropez(?), summer 1915 Paris, 25 December 1920 pencil and watercolour on paper charcoal on paper Private collection Private collection

44 51 Head of a woman (Olga) Composition with blue cigar box Paris, 1917 Fontainebleau, summer 1921 oil on canvas oil on canvas Private collection Private collection

45 52 Self-Portrait Mother and child Biarritz, summer 1918 Fontainebleau, 25 July 1921 pencil on paper pencil on paper Private collection Private collection

46 53 Olga Picasso, seated Mother and child Montrouge, autumn 1918 Paris, autumn 1921 pencil on paper oil on wood Private collection Private collection

47 54 Still life on a guéridon between double Woman with a missal windows Paris, autumn 1921 Paris, autumn 1919 gouache on paper gouache on paper Private collection Private collection 55 48 Composition with black stripes Composition with figure Dinard, summer 1922 Montrouge-Paris, 1918-20 oil on canvas oil on canvas Private collection Private collection

3 56 63 Still life with Le Journal The kiss with flowers Paris, June 1923 Dinard, 25 August 1929 oil on wood oil on canvas Private collection Private collection

57 64 Study for three graces Woman in grey and black Antibes, summer 1923 Dinard, mid-September 1929 indian ink on paper oil on canvas Private collection Private collection

58 65 Head of a woman (Olga) Woman on a base Juan-les-Pins, summer 1924 Boisgeloup, 1930 (cast in 1931) oil, charcoal and sand on canvas bronze painted black (green patina) Private collection Private collection

59 66 Man seated in an armchair Woman Juan-les-Pins, summer 1925 Boisgeloup, 1930 (cast in 1931) oil on canvas bronze with gilt patina Private collection Private collection

60 67 Painter with two models looking at a Seated woman canvas Boisgeloup, 1930 (cast in 1931) Paris, January 1927 bronze with black patina engraving Private collection Private collection 68 61 Woman lying in the sun Face of Marie-Thérèse Boisgeloup, 26 March 1932 Paris, October 1928 oil on canvas lithograph Private collection Private collection 69 62 Siesta Head of a woman in grey and blue (Marie- Boisgeloup, 18 August 1932 Thérèse) oil on canvas Dinard, 23 August 1929 Private collection oil on canvas Private collection

4 70 77 Head of a warrior Face of a woman (Marie-Thérèse) Boisgeloup, 1933 Juan-les-Pins, 7 April 1936 bronze with brown-black patina indian ink on board on cardboard Private collection Private collection

71 78 The sculptor at rest, III Man with a mask, woman and child in its Paris, 3 April 1933 carriage etching Juan-les-Pins, 7 April 1936 Private collection pen, indian ink and tinted wash on paper Musée Picasso, Paris 72 Sculpture of a young man with a cup 79 Paris, 11 April 1933 Woman writing a letter etching Juan-les-Pins, 22 April 1936 Private collection oil on canvas Private collection 73 Nudes 80 Boisgeloup, 22 April 1933 Still life with a jug and a piece of bread pencil on paper Juan-les-Pins or Paris, May 1936 Private collection oil on canvas Private collection 74 Model and surrealist sculpture 81 Paris, 4 May 1933 Weeping woman etching Paris, 1 July 1937 Private collection drypoint and multiple point (vélo), etching, aquatint 75 Musée Picasso, Paris Woman drawing Paris, 5 February 1935 82 pencil on paper Mythological scene on the shore Private collection Paris, 7 January 1938 oil and charcoal on canvas 76 Private collection Portrait of a girl Juan-les-Pins, 5 April 1936 83 oil, black chalk and pencil on canvas Two fauns and a naiad Private collection Paris, 7 January 1938 oil on canvas Private collection

5 84 90 Man with an ice cream cone Still life with jug and glass Mougins, 26 July 1938 Paris, 19 July 1944 oil on canvas oil on canvas Private collection Private collection

85 91 Women at their toilette (Françoise) Paris, 1938 (original maquette); tapestry Paris, 30 January 1945 completed in 1970 oil on canvas wool and silk Fundaciñn Almine y Bernard Ruiz-Picasso Private collection para el Arte

86 92 Head of a woman, no. 2 (portrait of Dora Portrait of a woman (Françoise) Maar) Paris, 29 April 1946 Paris, March-April 1939 pencil on paper aquatint, scraper (grattoir) and drypoint in Private collection four colours Private collection 93 Françoise 87 Paris, 14 June 1946 Head of a woman, no. 5 (portrait of Dora lithograph Maar) Private collection Paris, January-June 1939 aquatint, scraper (grattoir) and drypoint in 94 four colours Vanitas Private collection Paris, 27 December 1946 oil on canvas 88 Private collection Woman in grey and white Paris, 25 October 1941 95 oil on canvas Woman with a hat Private collection Paris, 16 April 1947 oil on canvas 89 Private collection Portrait of a woman Paris, 10 October 1943 96 oil on canvas Face Fundaciñn Almine y Bernard Ruiz-Picasso Vallauris, 11 October 1947 para el Arte white earthenware, daubed and painted with slips, glazed Private collection

6 97 103 Head of a faun Vase-face Vallauris, 17 October 1947 Vallauris, 1948 white earthenware, daubed and painted bronze with brown patina with slips, glazed Private collection Private collection 104 98 Fish and crustacean on a round plate Face Vallauris, 1949 Vallauris, 30 October 1947 white earthenware, incised and painted white earthenware, incised, painted and with slips daubed with slips, glazed Private collection Private collection 105 99 Bulls‟ heads Owl on a branch Vallauris, 1950-51 Vallauris, 1947 Madoura pot with handles white earthenware, incised, painted with white earthenware, thrown and assembled slip and oxide, heightened with coloured elements, painted with oxide and slip, glaze, under matt glaze incised, glazed Private collection Private collection

100 106 Bird Games (Children at play) Vallauris, 1947-48 Vallauris, 25 December 1950 white earthenware, thrown and assembled oil and enamel paint on plywood elements, painted with coloured glaze Private collection Private collection 107 101 Children‟s games Woman in a blue dress Vallauris, 14 June 1951 Vallauris, 1947-48 oil on plywood white earthenware, thrown and assembled Private collection elements, painted with slip and oxide, glazed 108 Private collection Flower vase Vallauris, 1951 (cast in 1953) 102 bronze with brown patina Still life Private collection Vallauris, 7 October 1948 oil on wood 109 Private collection Vase with thistles and a plate of cakes Vallauris, 1951 (cast in 1953) gilt bronze

7 Private collection 116 Woman and children: the drawing 110 Vallauris, 15 May 1954 Face of a woman oil on canvas Vallauris, 1952 Private collection gilt bronze with green patina Private collection 117 Mozarabic motif 111 Cannes, 20 March 1957 Head of a goat red earthenware (thrown), painted with Vallauris, 5 June 1952; decorated, Cannes, slips and oxide under glaze 16 February 1956 Private collection white earthenware, painted with slips and enamel, partially glazed 118 Private collection Les Demoiselles d‟Avignon tapestry completed in 1958, based upon 112 original painting of 1907 Head of a goat wool Vallauris, 1952; decoration 18 March 1953 Private collection white earthenware, painted with slips, partially glazed 119 Private collection Sun Cannes, 1959 113 white earthenware, painted with slips and At the circus incised, glazed Vallauris, 29 January 1954 Private collection coloured crayons on paper Private collection 120 Man running 114 Cannes, 1960 Clown and reclining woman bronze Vallauris, 31 January 1954 Private collection coloured crayons on paper Private collection 121 Child 115 Cannes, 1960 Painter and model bronze with gold patina Vallauris, 1 February 1954 Private collection coloured crayons on paper Private collection 122 Seated woman in a green dress Cannes, 11 February 1961 oil on canvas Private collection

8 123 129 Head of a woman Mother and child Cannes, spring 1961 Mougins, 26 October 1970 metal cutout, bent and painted with Ripolin oil on canvas Private collection Private collection

124 130 Trussed cock on a chair beneath a lamp Conversation Mougins, 24-27 April 1962 Mougins, 28 October 1970 oil on canvas oil on canvas Private collection Private collection

125 131 Head The embrace Mougins, 28 October 1962 Mougins, 2 July 1971 oil on canvas oil on canvas Private collection Private collection

126 132 Priapus Woman Mougins, 9 October 1964 Mougins, 7 July 1971 gargoulette (water vessel) oil on canvas white earthenware, assembled thrown Private collection elements, painted with slip, glazed Private collection 133 Head 127 Mougins, 9 August 1971 The artist and his model oil on canvas Mougins, 15 November 1964 Private collection oil on canvas Private collection 134 Bust 128 23 August 1971, Mougins Portrait of a man with laurel leaves oil on canvas Mougins, 11 May 1969 Private collection oil on canvas Private collection 135 Character Mougins, 10 October 1971 oil on canvas Private collection

9 Biographies

Dr. MARILYN McCULLY

Dr Marilyn McCully was educated in the United States, where she received her doctorate in the History of Art from Yale University in 1975. From that year until 1982 she was Assistant Professor of Art History at , where she taught both undergraduate and graduate courses in nineteenth and twentieth-century painting and sculpture. In 1978 she organized the exhibition Els Quatre Gats: Art in Barcelona around 1900 at the Princeton Art Museum (also shown at the Hirshhorn Museum and Sculpture Garden, Washington DC in 1979).

In 1982 Dr McCully moved to England, where she has lectured widely and worked as a writer. She has collaborated in the organization of several major international exhibitions, including Der Junge Picasso (Kunstmuseum, Bern, 1984); Homage to Barcelona (Hayward Gallery, London, 1985; Barcelona, 1987); Pablo Picasso: The Artist Before Nature (Auckland City Art Gallery, New Zealand, 1989); The Art of Spanish Posters (Otani Museum, Osaka, and other cities in Japan, 1991); Picasso: Painter and Sculptor in Clay (Royal Academy of Arts, London and Metropolitan Museum of Art, New York, 1998-99); Picasso: Scolpire e Dipingere la ceramica (Palazzo Diamanti, Ferrara, 2000); Cubismo (Palazzo Diamanti, Ferrara, 2004); and Picasso Ceramics and Tradition (Aichi Prefectural Ceramics Museum, Japan, and Museo Picasso Málaga, 2005).

Dr McCully is collaborating author with John Richardson on his four-volume biography, A Life of Picasso: Vol. I appeared in 1991 and Vol. II in 1996. She has published numerous articles and essays on Picasso, on Spanish art and architecture and on contemporary art in journals and catalogues in England, the United States, Germany, Switzerland, Spain and Australia. She is also the author of A Picasso Anthology: Documents, Criticism, Reminiscences (London, 1981; Princeton, 1982); Picasso: A Private Collection (London, 1993); Loving Picasso: The Private Journal of Fernande Olivier (New York, 2001); and Ceramics by Picasso (Paris, 1999), which was prepared in collaboration with Picasso‟s grandson Bernard Ruiz-Picasso.

1 Dr. NAZAN ÖLÇER

Born in Istanbul, Dr. Ölçer studied Ethnology, Ancient History and History of Art at Ludwig Maximilian University in Munich, Germany. During these years she worked intensively at the collections of the University in the Departments for Antiquity and Ethnology, and later at the Museum for Ethnology in Munich.

In 1972 she began working as curator at the Museum of Turkish and Islamic Art. In 1975 and 1978 she worked as guest curator at the Museum for Ethnology in Vienna and at the Museum for Islamic Art in Berlin. In 1978 she was appointed as Director of the Museum of Turkish and Islamic Art in Istanbul.

Ms. Ölçer has participated in a number of excavations, particularly those in Karatepe and Adana in South Anatolia and in Selçikler/Uşak in Western Anatolia(1974 – 1979). She participated and directed research projects, notably the work to settle the nomadic tribes Beritan and Alikan in Eastern Anatolia (1979) and the documentation of traditional crafts and craftsmen in Istanbul (1982 – 1984). Between 1976 – 84 she lectured at the Yıldız Technical University, Istanbul in the City Planning and Restoration Department for the post-graduate programmes.

In 2003 she retired from the Turkish and Islamic Art after 25 years of directorship and took over the presidency at the newly founded Sakıp Sabancı Museum.

She holds posts in a number of international institutions including: National Committee of Turkish International Council of Museums (ICOM); Turkish National Comittee of Unesco; Board member of the International Committee for Architecture and Museum Techniques(ICAMT); corresponding member of the German Archaeological Institute; Board member of the National Foundation Preservation of Historical Monuments and Environment (TAÇ); board member of The American Research Institute in Turkey (ARIT); advisory board member of the Marmara University Faculty of Fine Arts and of the Mimar Sinan University, Department of Fine Arts.

Dr. Ölçer has recieved the „Museologist of the Year‟ award from the Turkish Ministery of Culture; the French Chevalier des Arts et des Lettres award; the German Bundesverdienstkreuz Order; the Polish Kryzem Kawalerskim order from the President of The Republic of Poland; and the order of „Cavalieri di Omri‟ from the Italian President. In 2003 she received an honorary doctorate from the University of Bern, Switzerland for her great contribution to the understanding of different cultures between nations.

She has directed many documentary films on traditional handicrafts made for the Institut für den wissenschaftlichen Film, Vienna, and for the Scientific Film Institute in Gôttingen, Germany. She has also published her work on carpets and kilims and the art of metalworking, as well as on museology and cultural changes.

2 JOHN RICHARDSON

John Richardson was born in London in 1924. He studied at the Slade School of Art and went on to work as an industrial designer before becoming an art and fiction critic. In 1951 he moved to Provence, where he and Douglas Cooper, the British collector, bought the Château de Castille near Avignon and transformed it into a private museum of cubism. During the next ten years he lived in France and became a close friend of Picasso, as well as of Braque, Léger and de Staël. Besides writing books on Manet and Braque, he embarked on an analytical study of Picasso‟s portraits, now part of his on-going biography.

In 1960, Richardson moved to New York, where he organized a nine-gallery Picasso retrospective in 1962 and a Braque retrospective in 1964. Christie‟s then appointed him head of their US operation, which he ran for the next nine years. In 1973 he joined M. Knoedler & Co., Inc. as Vice President in charge of 19th and 20th century painting, and later became Managing Director of Artemis, a mutual fund specializing in works of art. In 1980 he decided to devote all his time to writing. Besides working on his Picasso biography, he has been a contributor to The New York Review of Books, The New Yorker and Vanity Fair. In 1993 he was elected to the British Academy and in 1995 was appointed Slade Professor of Art at Oxford.

The first volume of his four-volume Picasso biography was published in 1992 to wide acclaim and won England‟s prestigious Whitbread Prize. The second volume was published in November 1996, and the third volume (1917-1932) is scheduled to be published next year. In 1999 he published a memoir, The Sorcerer’s Apprentice, and in 2001 a collection of essays, Sacred Monsters, Sacred Masters. He currently divides his time between an apartment in New York City and a country house in Connecticut.

3 GULER SABANCI

After graduating from TED Ankara College and Bosphorus University (Business Administration) Ms. Güler Sabancı started to work for LASSA Lastik Sanayi ve Ticaret A.S., in 1978. Following LASSA, she became the General Manager of KORDSA Kordbezi Sanayi ve Ticaret A.S., and ran this company for 14 years as a Board Member and General Manager. While she was working for KORDSA, she was also the core member of a team to set-up a number of JV‟s for Sabancı Group and overseeing the part of the operations of these JV‟s.

After serving as the President of Tire and Reinforcement Materials Group for five years, in May 2004 Ms. Güler Sabancı was elected to her current post as the Chairperson and Managing Director of Sabancı Holding A.S. Güler Sabancı is also the Chairperson of Human Resources Committee of Sabancı Holding.

Other than the industrial business world, she is also active in academia. She was responsible for the foundation of Sabancı University and today she is the Chairperson of the University‟s Board of Trustees.

In 2005 she was ranked 17th in the Fortune magazine‟s list of “The 50 Most Powerful Businesswomen”, while she was ranked eighth in the Financial Times list of the “Most Powerful Women In Europe”.

Ms. Güler Sabancı is the Board Member of Turkish Businessmen and Industrialists Association and Istanbul Art and Culture Foundation. She also runs her vineyard, producing wine under her special brand name.

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