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2 PICASSO GRAND tour 9/11 The Hôtel Salé was built between 1656 and 1660 by architect Jean Boullier of PICASSO GRAND TOUR 10 Bourges. It owes its name (‘salty’) to its first owner, Pierre Aubert de Fontenay, PICASSO GRAND TOUR 12 a financier who was appointed “fermier général des gabelles” responsible for th th collecting the salt tax. From the 18 to the mid-20 century, the mansion had a 3 DIALOGUES, 13 number of occupants and was rented to various private individuals and institutions THE PRIVATE COLLECTION until its allocation as museum. In 1964, the City of Paris bought the building, which was subsequently declared a historic monument in 1968. Between 1979 and 1985, the Hôtel was renovated, restructured and refurbished by Roland Simounet to house the collections of the future museum. After 25 years of operation, the museum closed for a programme of renovation, modernisation, restoration and expansion led by Jean-François Bodin and, for the listed part of the Hôtel Salé, by Stéphane Thouin, chief architect for the state’s historical monuments. It reopened on 25 October 2014. level level the studios -1 the studios -1

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room -1.1 room -1.2 room -1.3 rooms -1.4 and -1.5 room -1.6 Le Bateau-Lavoir The apartment-studio The Parisian After a few years Displayed around at Montmartre is at 23 rue La Boétie studio at 7 rue des spent at the villa of the press used by without a doubt the in Paris had the Grands-Augustins La Californie in Cannes, Picasso at the villa most famous of the advantage of being is emblematic of and successively of La Californie is a Cubist studios, but located at the heart Picasso’s work during at the château de selection of prints not the only one. of a road that was the war years. It was Vauvenargues, Picasso that reveals both the In both France and dedicated at the time here that, among had his last home at variety of ways Picasso Spain, a number of to the display and other works, he Mougins, in the mas chose to depict a studios provided sale of art. Both this created Guernica, (farmhouse) of Notre- scene and his technical the venue for one or studio and the Norman photographed by Dora Dame-de-Vie. skill in mastering all more essential steps château of Boisgeloup Maar (1937). Shortly the various forms of in the development were photographed by after the war, the artist printmaking as an art. of Cubism, and were Brassaï. left for the South documented by of France, where he Picasso himself in his dedicated himself to photographs. his ceramic work.

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room 0.1 room 0.2 room 0.3 room 0.4 room 0.5 Born in Malaga in 1881, This theme room A selection of female The creative process The influence of Paul Picasso initially lived dedicated to male figures traces Picasso’s underlying the Cézanne, who died in and studied in Spain, portraits gives a sense development from development of the 1906, can be felt in the absorbing the work of of the richness of 1895 to 1931. His early Demoiselles d’Avignon, early trials of the Cubist the great Spanish Picasso’s creativity, years of learning gave 1907 (New York, The movement, at this time painters of the 17th from the beginning of way to his highly Museum of Modern Art), marked by a stylization century, the Golden his career, with personal “blue” art, a masterpiece of of forms to geometric Century (Vélasquez, Self-portrait, 1901 to imbued with a sense modern art, is revealed shapes and an evident Murillo) Man with a the last years of his life for social destitution here through a use of coloured hatching cap, 1895 before and work, as typified La Celestina, 1904 and remarkable group of Lansdcape with two exploring, first in by The Young Painter, then to the slender studies. figures, 1908. Barcelona and then in 1972. silhouettes of his pink This formal research Paris, the lively, period Seated nude, was effected not only in colourful and expressive 1905. Picasso’s painting but in sculpture touch of the modern approach to sculpture too Head of a woman post-impressionist also evolved in these (Fernande), 1906 Head painters: Van Gogh, years, as evoked by the of a woman (Fernande) Cézanne, Toulouse- small figures modelled 1909. Lautrec, etc. The in the 1900s et 1930s. Death of Casagemas, 1901 Portrait of Gustave Coquiot, 1901.

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room 0.6 room 1.1 rooms 1.2, 1.3 and 1.4 rooms 1.5 and 1.6 The desire to break free of a simple imitation Experimenting with At the end of the Great War (1914-1918) and His explorative work of reality led Picasso and his travelling collage quickly and after his trips to Italy (1917), Picasso returned to continued in the 1930s in companion, Georges Braque (1882-1963), to naturally led Picasso to a classic manner, marked by a clear and pure the vast spaces of the develop an analytical form of painting, in abandon the flat surface in line: these were the years of “modern château de Boisgeloup, which the identification of the subject required favour of greater relief: classicism” and a fascination with masters such where Picasso was able to active participation on the part of the from relief-paintings to as Ingres (1780-1867) and Le Nain (circa work on large formats. The observer. By 1910, the two artists were assemblages. The cubist 1593-1648) Portrait of Olga in an armchair, 1918 volumes of the female multiplying the points of view of the same musical instruments Le Retour du baptême, after Le Nain, 1917. An figure gained in roundness subject and presenting them all back on the Guitar and bottle of Bass, example of the formal production of this period, and were deconstructed same plane, that of the canvas itself, in a denial 1913 resonate with the Studies, 1920-1922 reveals the coexistence of a into masterly sets of curves of perspective Man with Guitar, 1911. The guitars of the surrealist cubist approach with a fascination for Mannerist and counter-curves exciting results of this experiment led them in period Guitar, 1926. art of the Renaissance, discovered by Picasso at Female bust, 1931 1912 to make a symbolic gesture that was the château de Fontainebleau in 1921. Antiquity, Reclining nude, 1932. emblematic of the synthetic phase of cubism: another source of inspiration, filled his works The metamorphosis of the collage of a piece of reality pasted on the with mythological or atemporal figures of a forms also continued within canvas Still Life with cane chair, 1912. More massive, sculptural volume Two Women the favourable context of than a trompe-l’œil (fool the eye), the work of running on the beach (The Race), 1922. surrealism with assemblage art became a “trompe-l’esprit” (fool the mind). At the same time, the artist was developing a sculptures, made in part return to the essential value of line Painter with using found objects palette and easel, 1928 Figure (Project for a Woman with orange, monument to Apollinaire), 1928. 1934-1943.

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rooms 1.7 and 1.8 room 2.1 1937: Picasso moved into a new studio in rue Initiated into the corrida by his father, throughout his des Grands-Augustins in Paris. Here, for ten life Picasso harboured a passion for bullfighting. After years he responded to the violent events moving to the South of France in 1948, he became a shaking the world, from the Spanish Civil War regular visitor to the bullfighting arenas of Arles. The to the Second World War. It was in these high artist produced a multitude of works showing the ever- rooms that he painted Guernica (Madrid, renewed relations between picador, horse and bull Museo Nacional Centro de Arte Reina Sofia), Corrida, 1922. The bull is such an important feature of in response to the bombing of that town by his work that it is not rare to find it appearing as the the Francoists. Its enormous size is echoed in sole subject Head of bull, 1931. the large collage of Women at their toilette, In the 1930s, these depictions take on a more complex 1938, displayed next to two of his most dimension with the appearance of a mythological striking portraits of the time Portraits of Dora figure: the Minotaur, the half-man, half-bull trapped Maar, 1937 and of Marie-Thérèse, 1937. An in the labyrinth that annually devoured 14 young emblematic work of these war years, Head of Athenians. Simultaneously sacred, savage and archaic, a bull, 1942 is an assemblage reduced to its this figure also characterises the humanity/bestiality simplest expression. duality typical of man too, in particular with regard to sexuality. The Minotaur thus became the protagonist of scenes of a complex symbolism, the Minotauromachia Minotaur and dead mare before a grotto facing a young girl with veil, 1936.

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room 2.2 rooms 2.3, 2.4 and 2.5 room 2.6 room 2.7 room 2.8 A more psychological The spirit of these war years can be seen here in At the end of the Second The last period in his Echoes of other dimension of these war symbolic form in the painted and sculpted still World War, Picasso left Paris oeuvre is dominated great painters (Titian, years can be discerned in lifes of the period. The presence of symbolic for the South of France, by the theme of the Goya) appear in the the repetition of the objects (skulls, candles) are reminders of the where he enjoyed the studio The Studio large erotic nudes of subject of female unavoidable triumph of death, in the manner of pleasures of a rediscovered at La Californie, Picasso’s last years, portraits, treated in a the vanitas paintings of the 17th century Skull, family life: his art reflected 1956 and by a blending sexual radical or even violent sea urchins and lamp on a table, 1943. These this with a myriad of comparison with desire, the desire to manner Bust of a woman works appear alongside the enigmatic and everyday and intimate the great masters see and the desire to with a striped hat, 1939. profoundly human figure of Man with sheep, subjects, marking a period in the history of paint Woman with This violence is also 1943. The end of war in 1945 did not mark the of “joie de vivre” (the joy art. In a series pillow, 1969. In his forcefully expressed in end of violence, and Picasso’s work of the early of life) Claude drawing, of “after” works, sculptures, the artist sculpture, as in the very 1950s still bears the trace of the conflicts, as in Françoise and Paloma, 1954. Picasso developed continued his subject of the Death’s the example of a large picture of cruelty, The light of the Midi inspired a pictorial dialogue exploration of the head, 1943. Massacre in Korea, 1951. compositions with brighter that is both a tribute relations between and naturally contrasting and a challenge, two and three colours The Shadow, 1953, as in this case with dimensions by Still life with bull’s head, the Déjeuner sur producing cut-out 1958. Picasso also produced l’herbe by Manet and folded paper some new assemblages, (1832–1883) sculptures, which one of the most well-known Le Déjeuner sur were then being Little girl skipping, l’herbe, after Manet, transposed into 1950. 1960. sheet metal Woman and child, 1961.

11 12 level DIALOGUES, 3 THE PRIVATE COLLECTION

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President of the musée national Picasso-Paris Level 3 Laurent le Bon

Picasso did not put together a collection to represent each school Managing director of the musée national Picasso-Paris in the history of art, and nor with a quest to search out rare Erol Ok

masterpieces, but rather by elective affinities, with the desire to Curator of the inaugural exhibition of the musée national Picasso-Paris surround himself with works would find an echo in his own works. Anne Baldassari His collection contains some great masters of the past – Chardin, Conservateur général du patrimoine

Courbet, Renoir and Cézanne – but also painters from his circle of Editorial and graphic coordination friends – Braque, Matisse and Derain – with whom Picasso enjoyed Department of public programs and cultural development exchanging works. The collection owes as much to chance finds (a Graphic design work by Henri Rousseau found in a junk shop) as to what the art Valérie Besser market offered (Degas’ monotypes of brothels). Printing The collection provided Picasso with a pool of forms to borrow Alliance Partenaires Graphiques from, in which the ethnographic sculptures purchased from 1907 Captions onwards held a special place: in addition to their expressive Cover : Self-portrait in front of “Homme accoudé sur une table” in the studio power, Picasso saw these as “magical” objects, able to intercede of rue Schoelcher in 1915-1916 © Succession Picasso, 2014 with the spirits. Hôtel Salé : © Musée national Picasso – Paris / Béatrice Hatala

13 14 PRACTICAL INFORMATION

Address MUSÉE NATIONAL PICASSO-PARIS TICKETS 5 rue de Thorigny, 75003 Paris Admission In order to avoid queuing, it is OPENING TIMES suggested you book your ticket Everyday except Mondays, in advance from: 25 December, 1 January and 1 May. billetterie.museepicassoparis.fr Tuesday to Friday: 11.30 am to 6 pm Full price: €11. Saturday and Sunday: 9.30 am to 6 pm Last entry at 5.15 pm; rooms close at Free of charge 5.40 pm. Upon presentation of proof (a list of Late night opening on the 3rd Friday of supporting documents accepted is every month until 9 pm (last entry at available from the museum’s website). 8.15 pm; rooms close at 8.40 pm) Free for all visitors on the first Sunday of each month. ACCESS The museum offers disabled access. VIDEO-GUIDE Visitors with disability can request a The video-guide to the museum is special reception by writing to: available in French, English, Spanish and [email protected] French sign language. Rental on-site: MUSEUM SHOP AND Full price: €4 / concessionary: €3 CAFÉ SUR LE TOIT You may reserve a video-guide from Open from Tuesday to Sunday during billetterie.museepicassoparis.fr the opening hours of the museum. Also downloadable from Google Play and App Store. CULTURAL PROGRAMMES Discover all the cultural events at PICASSO PASS the museum from our website at the To enjoy unlimited access, avoid queues bookings/events page. at the museum and experience many other benefits at the museum and its partners, become a Member of the Musée national Picasso-Paris!

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