El Museu Picasso, 50 Años En Barcelona. Las Exposiciones

Total Page:16

File Type:pdf, Size:1020Kb

El Museu Picasso, 50 Años En Barcelona. Las Exposiciones 50 ANIVERSARIO DE LA CREACIÓN DEL MUSEU PICASSO Tercera exposición: EL MUSEU PICASSO, 50 AÑOS EN BARCELONA. LAS EXPOSICIONES 15 de enero de 2014 Abierta al público del 15 de enero, a partir de las 15 horas, al 27 de abril de 2014 Museu Picasso Dep. de prensa y comunicación Montcada 15 - 23 08003 Barcelona Tel. 932 563 021 / 26 [email protected] SUMARIO 1. PRESENTACIÓN 2. TERCERA EXPOSICIÓN: El Museu Picasso, 50 años en Barcelona. Las exposiciones 3. DATOS DE LA EXPOSICIÓN 4. ÁMBITOS DE LA EXPOSICIÓN 1. PRESENTACIÓN El pasado 9 de marzo del 2013, el Museu Picasso cumplió 50 años. Con este motivo, se han organizado tres exposiciones de carácter documental que dan testimonio de los signos de identidad del museo: su génesis, su colección y las exposiciones realizadas. Las tres muestras, como piezas de una misma narración, se han ido sucediendo una tras otra a lo largo del pasado año, y ahora es el turno de presentar la última de ellas. Exposiciones programadas: El Museu Picasso, 50 años en Barcelona. Los orígenes Del 9 de marzo al 9 de junio de 2013 El Museu Picasso, 50 años en Barcelona. La colección Del 4 de julio al 24 de noviembre de 2013 El Museu Picasso, 50 años en Barcelona. Las exposiciones Del 15 de enero al 27 de abril de 2014 Se presenta la tercera y última de las muestras programadas para la celebración de este aniversario, dedicada a las exposiciones que ha organizado el Museu en sus 50 años de vida. Exposición Les Demoiselles d’Avignon, 1988. Museu Picasso, Barcelona. Fotógrafo: desconocido La muestra El Museu Picasso, 50 años en Barcelona. Las exposiciones, es una propuesta eminentemente documental que hace un repaso por lo que han sido las 79 exposiciones organizadas por el Museu desde el punto de vista de su importancia para la difusión de la obra del artista y las vanguardias históricas relacionadas con él (artistas, movimientos y periodos artísticos). Como ya sucedió con las dos muestras anteriores, el trabajo realizado se ha materializado en dos interactivos que se presentan en las salas: . La instalación de una pantalla interactiva permitirá al público consultar la ficha informativa de cada una de las 79 exposiciones. En estas fichas se ha recopilado su información básica: título, comisario, organizador, fechas de realización, descripción, número de obras, datos del catálogo y obras destacadas, así como su imagen y la del catálogo. Se trata de una recopilación exhaustiva que permitirá una visión amplia del contenido y la evolución de las exposiciones temporales. Para poder desarrollar sus proyectos, el Museu ha establecido lazos estrechos con reconocidas Instituciones artísticas. La colaboración con estas instituciones y coleccionistas particulares ha hecho posible la presentación de todas las exposiciones que se han podido visitar en el Museu Picasso. Como agradecimiento a todos ellos se ha instalado una pantalla que cita y localiza geográficamente un total de 112 instituciones colaboradoras habituales durante estos 50 años. El contenido de la primera de estas herramientas formará parte del proyecto global de interactivo iniciado con esta celebración que incluirá toda la información recopilada y la investigación realizada en torno estas tres muestras y que permitirá compartir con los ciudadanos la historia del Museu. En el otoño del 2014, el interactivo La trayectoria del Museu Picasso, Barcelona se integrará al Centro de Referencia Picassiana on-line de Museu y será una plataforma de consulta e investigación muy completa sobre el Museu y su trayectoria. 2. TERCERA EXPOSICIÓN: El Museu Picasso, 50 años en Barcelona. Las exposiciones En sus 50 años de vida el Museu ha presentado 79 exposiciones temporales que han difundido principalmente la obra de Picasso, pero también de otros artistas relacionados con él. El Museu Picasso, 50 años en Barcelona. Las exposiciones es un viaje por estas muestras y, por tanto, por la prolífica trayectoria de Pablo Picasso, sus referentes y los diversos artistas coetáneos que se han podido ver en nuestro museo. Las diversas exposiciones presentadas en el Museu Picasso han ofrecido al público de nuestra ciudad la posibilidad de disfrutar de obras capitales de Pablo Picasso y de conocer la evolución de su arte en las diferentes disciplinas en que trabajó a lo largo de sus 91 años de vida, desde la pintura a la escultura o el dibujo, pasando por el grabado, los papiers collées y otras técnicas. Obras de juventud, de la época azul, de la época rosa, cubistas, neoclasicistas, surrealistas y de la última época se han presentado en todos estos años en el marco de las exposiciones dedicadas al conocimiento de su obra, y han dado una amplia visión del significado, la importancia y la transcendencia de la obra de Pablo Picasso. Por otro lado, el conjunto de muestras dedicadas a otros artistas y movimientos artísticos en estas cinco décadas también ha ofrecido al espectador una perspectiva clara del arte del siglo XX, fuertemente influido por profundos y acelerados cambios sociales, científicos y tecnológicos. Las exposiciones 1971 Obras de Picasso de la Colección Hugué 25.10.71 1972 Exposición de libros con grabados originales de Picasso 25.10.72 – 25.11.72 1973 Henri Matisse. Pinturas y dibujos de los Picasso y la familia Reventós Museos Pushkin de Moscú y el Ermitage 15.02.73 – 14.03.73 de Leningrado 12.10.88 – 11.12.88 1977 Picasso 1989 05.12.77 – 10.01.78 Picasso linograbador 20.01.89 – 28.02.89 1978 Henri Laurens 1885-1954. Esculturas y Picasso y los sellos dibujos 29.09.78 – 08.10.78 15.03.89/18.06.89 1979 Odilon Redon (1840-1916). La colección Picasso erótico Ian Woodner 27.02.79 – 31.05.79 07.11.89 – 07.01.90 1982 1990 Picasso 1881-1973. Exposición Cubismo en Praga. Obras de la Galería antológica nacional 11.01.82 – 28.02.82 20.02.90 – 29.04.90 Retrato de Picasso. Fotografías de De Pablo a Jacqueline. Pinturas, dibujos, Roberto Otero esculturas y obra gráfica 1954-1971 21.12.82 – 13.03.83 17.10.90 – 27.01.91 1984 1992 Picasso. Los ciento cincuenta y seis Picasso 1905-1906. De la época rosa a libros ilustrados los ocres de Gósol 21.09.84 – 05.12.84 06.02.92 – 19.04.92 Tauromaquia Max Ernst. Obra gráfica y libros 22.11.84 – 31.01.85 ilustrados 20.05.92 – 20.09.92 1986 Jawlensky Paul Klee dibujante. 1921/1933. 26.06.92 – 27.09.92 Obras del período de La Bauhaus 20.05.86 – 20.07.86 Pablo Picasso. Colección Ludwig 11.11.92 – 31.01.93 Georges Braque 1882-1963 27.11.86 – 25.01.87 1993 Picasso. El tricornio 1987 25.02.93 – 25.04.93 De Marées a Picasso. Obras maestras del Museu Von der Heydt de Wuppertal Malevich. Colección del Museo Estatal 13.02.87 – 03.05.87 Ruso (San Petersburg) 23.04.93 – 06.06.93 Oskar Kokoschka 10.12.87 – 10.04.88 Picasso. Toros y toreros 04.10.93 – 09.01.94 1988 Les Demoiselles d’Avignon 12.05.88 – 17.07.88 1994 Picasso erótico La vanguardia rusa 1905-1925. 26.10.01 – 20.01.02 Colecciones de los museos de Rusia 23.03.94 – 26.06.94 2002 París-Barcelona (1888-1937) Picasso: paisajes, 1890-1912 28.02.02 – 26.05.02 09.11.94 – 12.02.95 Colección Jean Planque: la novela de un 1995 coleccionista Tatlin 10.10.02 – 05.01.03 05.04.95 – 25.06.95 2003 Picasso y Els 4 Gats Picasso: de la caricatura a las 18.11.95 – 11.02.96 metamorfosis de estilo 18.02.03 – 18.05.03 1996 Futurismo, 1909-1916 Torres García 08.05.96 – 21.07.96 25.11.03 – 11.04.04 Picasso y el teatro: Parade, Pulcinella, 2004 Cuadro Flamenco, Mercure Picasso, guerra y paz 20.11.96 – 23.02.97 25.05.04 – 26.11.04 1997 Magnelli. Entre el cubismo y el futurismo André Derain, 1904-1921 28.10.04 – 03.02.05 18.03.97/29.06.97 2005 Picasso. La fábrica de dibujos, 1890- Jean Hélion 1904 18.03.05 – 19.06.05 25.10.97 – 25.01.98 Libros ilustrados por Picasso 1998 11.11.05 – 08.01.06 Egon Schiele. Colección Leopold 17.02.98 – 31.05.98 2006 Picasso. La pasión del dibujo Picasso. Grabados, 1900-1942 09.02.06 – 07.05.06 04.12.98 – 04.04.99 Roger de La Fresnaye 1885-1925. 1999 Cubismo y tradición Raoul Dufy. 1877-1953 02.03.06 – 05.06.06 30.04.99 – 11.07.99 Los Picassos de Antibes Picasso: Paisaje interior y exterior 06.07.06 – 15.10.06 26.10.99 – 31.01.00 Picasso y el circo 16.11.06 – 18.02.07 2000 Steinlen y la época de 1900 2007 29.02.00 – 28.05.00 Lee Miller. Picasso en privado Robert y Sonia Delaunay 01.06.07 – 16.09.07 20.10.00 – 21.02.01 Picasso y su colección 20.12.07 – 30.03.08 2001 Albert Gleizes, el cubismo en majestad 29.03.01 – 05.08.01 2008 2012 Olvidando a Velázquez. Las Meninas Un collage antes del collage 16.05.08 – 28.09.08 06.03.12 – 03.06.12 Objetos vivos. Figura y naturaleza Vilató 1921-2000. Barcelona-París. muerta en Picasso Un camino de libertad 21.11.08 – 01.03.09 17.05.12 – 11.11.12 Economía: Picasso 2009 24.05.12 – 02.09.12 Kees Van Dongen 11.06.09 – 27.09.09 Cerámicas de Picasso. Un regalo de Jacqueline a Barcelona Picasso, fotógrafo de Horta.
Recommended publications
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Picasso Sculpture Pdf, Epub, Ebook
    PICASSO SCULPTURE PDF, EPUB, EBOOK Ann Temkin,Anne Umland | 320 pages | 24 Nov 2015 | MUSEUM OF MODERN ART | 9780870709746 | English | New York, United States Picasso Sculpture PDF Book Look carefully. After purchasing an estate in Boisgeloup in , Picasso set up a sculptor studio in a coach house. Picasso: My Grandfather. Madrid held many other attractions. And of every building inspector who took a wad from a slum owner to make it all possible Girl Before a Mirror. Paris: capital of the arts, — Wood, metal and plaster were used separately or in combination with each other. The first issue was published on 31 March , by which time the artist had started to sign his work Picasso. Cubism , Surrealism. Boston: Houghton Mifflin Harcourt. The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in Between and he wrote over poems. The public who look at the picture must interpret the symbols as they understand them. The 33 volumes cover the entire work from to , with close to 16, black and white photographs, in accord with the will of the artist. The first volume of the catalogue, Works from to , published in , entailed the financial ruin of Zervos, self- publishing under the name Cahiers d'art , forcing him to sell part of his art collection at auction to avoid bankruptcy. From Wikipedia, the free encyclopedia. The medium in which Picasso made his most important contribution was painting. Informed of this, Picasso offered three paintings and a sketch to the city and its museum and was later made an honorary citizen by the city.
    [Show full text]
  • Bibliographie Française De La Tauromachie (La)
    PERIEUR DE BIBLIOTHECAIRE MEMOIRE DE FIN D'ETUDES Jacques DALQUIER LA BIBLIOGRAPHIE FRANCAISE DE LA TAUROMACHIE. ANNEE : 1,984-1985 21 eme PROMOTION ECOLE NATIONALE SUPERIEURE DES BIBLIOTHEQUES 17-21, Boulevard du 11 Novembre 1918 - 69100 VILLEURBANNE DIPLOME SUPERIEUR DE BIBLIOTHECAIRE MEMOIRE DE FIN D'ETUDES Jacques DALQUIER BIBLIOGRAPHIE FRANCAISE DE LA TAUROMACHIE: -METHODOLOGIE ESSAI DE THESAURUS APPROCHE BIBLIOLOGIQUE /M ANNEE: 1984-1985 21 e PROMOTION. ECOLE NATIONALE SUPERIEURE DES BIBLIOTHEQUES 17-21, Boulevard du 11 Novembre 1918 - 69100 VILLEURBANNE. DALQUIER (Jacques). - La Bibliographie frangaise de la tauromachie: MSthodologie,Essai de thesau- rus, Approche bibliologique: mcmoire / prSsen- te par Jacques Dalquier. - Villeurbanne: Ecole Nationale SupSrieure des Bibliotheques, 1985 . - 100 f.: figure; 30 cm. MSmoire E.N.S.B.: Villeurbanne: 1980: Tauromachie, bibliograpMe / Fragce. - Tauromachie, thesau- rus. *' Tauromachie, bibliologie. Essai de bibliographie frangaise de la tauromachie: prin- cipes et mSthodologie; essai de thesaurus avec liste alphabetique et tableaux thematiques; approche biblio- logique du livre taurin depuis 1945. 2 TABLE DES MATIERES - INTRODUCTION 3 I - BIBLIOGRAPHIE 1.1.: PROLEGOMENES 1.1.1.:Historique de la bibliographie taurine 5 1.1.2.:Principes de la bibliographie frangaise de la tauromachie 8 1.1.3.:Contenu et mSthodologie 9 1.2.: BIBLIOGRAPHIE FRANCAISE DE LA TAUROMACHIE 13 1.3.: INDEX DES VEDETTES ADOPTEES (maquette) 57 II -THESAURUS 11.1.:METHODOLOGIE ET INTRODUCTION 59 11.2.:LISTE ALPHABETIQUE DES DESCRIPTEURS ET NON DESCRIPTEURS , 62 11.3.:TABLEAUX THEMATIQUES 79 III-LE LIVRE TAURIN: APPROCHE BIBLIOLOGIQUE. III.1.:ELEMENTS BIBLIOMETRIQUES 111.1.1.:M6thode 90 111.1.2.:Tableau statistique 91 III.1 . 3.: Commentaire 92 III.
    [Show full text]
  • Michael Cowan Fitzgerald
    1 Michael C. FitzGerald Office: 113 Hallden Hall tel. 860-297-2503 [email protected] [email protected] (home) EDUCATION 1976-1987 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Ph.D., M.Phil., M.A. DISSERTATION: "Pablo Picasso's Monument to Guillaume Apollinaire: Surrealism and Monumental Sculpture in France, 1918-1959." 1984-1986 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF BUSINESS M.B.A. 1972-1976 STANFORD UNIVERSITY B.A. EMPLOYMENT TRINITY COLLEGE (Hartford, CT) DEPARTMENT OF FINE ARTS 2007- Professor 2OO2-5 Director, Art History Program (first appointment) 1994-2007 Associate Professor, Department of Fine Arts 1996-1998 Chairman 1988-1994 Assistant Professor 1986-1988 CHRISTIE, MANSON AND WOODS INTERNATIONAL (New York, NY) Specialist-in-charge of Drawings, Department of Impressionist and Modern Art 1981-1983 COLUMBIA UNIVERSITY (New York, NY) Preceptor,Department of Art History and Archaeology CONSULTANCY Research Director, Fundación Almine y Bernard Ruiz- Picasso para el Arte (FABA), 2020- AWARDS American Academy in Rome, April 2020 (deferred due to Corona Virus) Terra Foundation, 2006 2 National Endowment for the Arts, 2005-06 Faculty Research Leave, Trinity College, 2001-2002 3-Year Expense Grant, Trinity College, 2001-2004 Archives Grant, New York State Council of the Arts, 1999-2000 (with Whitney Museum of American Art) Fellowship, National Endowment for the Humanities, 1994-95 Faculty Research Grant, Trinity College, Summer 1993 Travel to Collections Grant, National Endowment for the Humanities, Summer 1991 Faculty Research Grant, Trinity College, Summer l989 Rudolf Wittkower Fellowship, Columbia University, 1980-81 Travel Grant, Columbia University, Summer l982; President's Fellowship, Columbia University, l977-78 CURRENT PROJECT Curator, Picasso and Classcial Traditions, This exhibition is a collaboration between the Museo de Bellas Artes de Sevilla and the Museo Picasso Málaga.
    [Show full text]
  • Pablo Picasso, Published by Christian Zervos, Which Places the Painter of the Demoiselles Davignon in the Context of His Own Work
    PRESS KIT PICASSO 1932 Exhibition 10 October 2017 to 11 February 2018 ANNÉE ÉROTIQUE En partenariat avec Exposition réalisée grâce au soutien de 2 PICASSO 1932 ANNÉE ÉROTIQUE From 10 October to the 11 February 2018 at Musée national Picasso-Paris The first exhibition dedicated to the work of an artist from January 1 to December 31, the exhibition Picasso 1932 will present essential masterpieces in Picassos career as Le Rêve (oil on canvas, private collection) and numerous archival documents that place the creations of this year in their context. This event, organized in partnership with the Tate Modern in London, invites the visitor to follow the production of a particularly rich year in a rigorously chronological journey. It will question the famous formula of the artist, according to which the work that is done is a way of keeping his journal? which implies the idea of a coincidence between life and creation. Among the milestones of this exceptional year are the series of bathers and the colorful portraits and compositions around the figure of Marie-Thérèse Walter, posing the question of his works relationship to surrealism. In parallel with these sensual and erotic works, the artist returns to the theme of the Crucifixion while Brassaï realizes in December a photographic reportage in his workshop of Boisgeloup. 1932 also saw the museification of Picassos work through the organization of retrospectives at the Galerie Georges Petit in Paris and at the Kunsthaus in Zurich, which exhibited the Spanish painter to the public and critics for the first time since 1911. The year also marked the publication of the first volume of the Catalog raisonné of the work of Pablo Picasso, published by Christian Zervos, which places the painter of the Demoiselles dAvignon in the context of his own work.
    [Show full text]
  • Museu Picasso Presents Picasso/Dalí, Dalí/Picasso, the First Exhibition to Explore the Relationship Between Both Artists
    Press Release THE MUSEU PICASSO PRESENTS PICASSO/DALÍ, DALÍ/PICASSO, THE FIRST EXHIBITION TO EXPLORE THE RELATIONSHIP BETWEEN BOTH ARTISTS Organised by the Museu Picasso with The Dalí Museum in Saint Petersburg, Florida, in collaboration with the Fundació Gala-Salvador Dalí in Figueres, this show examines the relationship between Pablo Picasso and Salvador Dalí—one of the most decisive crossroads in the history of 20th-century art Dalí felt admiration for Picasso dating back to before they had even met, when the young Dalí was making his first avant-garde forays in the early 1920’s The show includes works rarely seen in Europe, including Salvador Dalí’s Portrait of My Sister and Profanation of the Host, and 29 pieces by the two artists that will only be seen in Barcelona Barcelona, 19 March 2015. The Museu Picasso and The Dalí Museum in Saint Petersburg, Florida, have worked with the Fundació Gala-Salvador Dalí in Figueres and more than 25 art museums and private collectors worldwide to put on the first exhibition to analyse the relationship between Pablo Picasso and Salvador Dalí. The show sheds light on their highly productive relationship and reveals its high points and contradictions. “We didn’t set out to show that these two artists are in some way similar, but to help visitors get a better understanding of them,” says the show’s co-curator, William Jeffett, from The Dalí Museum. The idea is to let visitors see work by both artists in a fresh light by showing where their paths crossed. The exhibition reveals that after Dalí visited Picasso at his studio in Paris, his work underwent a tremendous experimental shift: he quickly went from merely “analysing” Picasso’s work to fashioning his own, fully Surrealist artistic language.
    [Show full text]
  • Pablo Picasso (Spanish, 1881 - 1973)
    Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics.
    [Show full text]
  • Teachers' Resource
    TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: ‘I WAS A PAINTER AND I BECAME PICASSO’ 3:THE ARTIST AS OUTSIDER: THE HARLEQUIN IN PICASSO’S EARLY WORK 4: PAINTING LIFE AND DEATH: PICASSO’S SECULAR ALTARPIECE 5: THE SECRET LIFE OF A PAINTING 6: PAINTING THE FIGURE: A CONTEMPORARY PRACTICE PERSPECTIVE 7: PICASSO’S BELLE ÉPOQUE: A SUBVERSIVE APPROACH TO STYLE AND SUBJECT 8: GLOSSARY 9: TEACHING RESOURCE CD TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 Compiled and produced by Sarah Green Design by Joff Whitten SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 Cover image: Pablo Picasso Child with a Dove, 1901 Oil on canvas 73 x 54 cm Private collection © Succession Picasso/DACS, London 2013 This page: Pablo Picasso Dwarf-Dancer, 1901 Oil on board 105 x 60 cm Museu Picasso, Barcelona (gasull Fotografia) © Succession Picasso/DACS, London 2013 WELCOME The Courtauld is a vibrant international centre for the study of the history of art and conservation and is also home to one of the finest small art museums in the world. The Public Programmes department runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars.
    [Show full text]
  • Picasso, Theatre and the Monument to Apollinaire
    PICASSO, THEATRE AND THE MONUMENT TO APOLLINAIRE John Finlay • Colloque Picasso Sculptures • 24 mars 2016 n his programme note for Parade (1917), Guil- Ilaume Apollinaire made special mention of “the fantastic constructions representing the gigantic and surprising figures of the Managers” (fig. 1). The poet reflected, “Picasso’s Cubist costumes and scenery bear tall superstructures knowingly created a conflict witness to the realism of his art. This realism—or Cub- between the vitality of dance and the immobility of ism, if you will—is the influence that has most stirred more grounded sculptures. As a practical and sym- the arts over the past ten years.”1 Apollinaire’s note bolic feature, the Managers anticipate certain aspects acknowledges a number of important things regard- of Picasso’s later sculpture. ing Picasso’s new theatrical venture. Most notable is The decors for the ballet (1924) were equally “sur- his recognition that the Managers are not costumes real”, contemporary forms of sculpture. Picasso made in the traditional sense, but three-dimensional in allowance for mobility in his set designs by enabling conception, and linked with his earlier Cubist work. the assembled stage props (even the stars) to move In describing the Managers as “construction”, Apol- in time to the music, the dancers manipulating them linaire was perhaps thinking of Picasso’s satirical Gui- like secateurs. For the Three Graces, Picasso created tar Player at a Café Table (fig. 2). The assemblage ran wickerwork constructions manipulated like puppets the gamut from a Cubist painting on a flat surface, by wires. The “practicables” were similar to telephone showing a harlequin with pasted paper arms, to a extension cables that expanded and contracted as real guitar suspended from strings, to a still life on a their heads bounced up and down.
    [Show full text]
  • Ver Catalogo
    La relación del toro con los hombres siempre inspiró a los artistas a lo largo de la historia, desde las pinturas rupestres más antiguas hasta la obra de pintores y escultores del siglo XXI. Con diferentes contextos, estilos, intenciones o significados, los tres protagonistas de esta muestra, han representado plásticamente la pasión y dramática intensidad de las corridas taurinas mediante sus diversas miradas. Francisco de Goya, considerado como un precursor de la Modernidad, realizó su serie de grabados mostrando una visión histórica de la tauro- maquia en España; Pablo Picasso, creador del cubismo, fue aficionado a los toros desde su infancia y transformó esas escenas en temas centrales de su obra; Salvador Dalí, uno de los máximos representantes del Surrealismo, sintió fascinación por el mundo del toreo y elaboró sus imágenes en clave surrealista. Cultura, ritual y tradición. Más allá del debate, la pasión o la controversia, la muestra brinda la oportunidad de acercarse a las múltiples lecturas que ofrece el tema, apreciando de manera conjunta la obra de tres exponentes fundamentales del arte universal. B C D GOBIERNO DE LA CIUDAD AUTÓNOMA DE BUENOS AIRES Jefe de Gobierno Horacio Rodríguez Larreta Ministro de Cultura Enrique Avogadro Subsecretaria de Gestión Cultural Vivi Cantoni Director General de Patrimonio, Museos y Casco Histórico Juan Vacas Gerente Operativa de Museos Valeria Keller Directora Museo de Arte Español Enrique Larreta Delfina Helguera Museo de Arte Español Enrique Larreta Del 19 de octubre de 2018 al 6 de enero de 2019 3 Buenos Aires. Argentina Tengo la satisfacción de presentar Goya, Picasso, Dalí. Arte y tauromaquia: una Goya, Picasso, Dalí.
    [Show full text]
  • Pablo Picasso Wrote No Book of Essays Or Any Treatise on Painting
    PICASSO IN CONVERSATION . Pablo Picasso wrote no book of essays or any treatise on painting. His thoughts, concerns, criticism and values are sufficiently clear in his work – most of which was in creative arts and occasionally in written pieces (poetry, plays, letters and dedications). For a summary of his thoughts we need therefore to consult the written records of those who knew him best, of the researchers who peronally met him, of the friends who loved him. Here is a selection of Picasso’s sayings expressed in conversations, meetings, interviews and collections in different bibliographic material. All of them may be looked up at the Barcelona Picasso Museum library (by prior appointment only). BARCELONA . “There is where it all began... There is where I understood how far I could reach” (In Pierre Daix, Picasso Créateur, Paris, Seuil, 1987, p. 103) UNDERSTANDING ART . Everyone wants to understand painting. Why not try to understand the songs of a bird? Why does one love the night, flowers, everything around one, without trying to understand them? But in the case of painting people have to understand. (In Christian Zervos, “Conversation avec Picasso” in Cahiers d’art, 7/10, Paris, 1935, p. 178) Why do you paint in such a way that your expression is so difficult for the public to understand? [Question from Jérôme Slecker]. I paint this way because here is the result of my thoughts. I have worked for years to get there, and if I take a step backwards, it would be an insult to the public as it is the result of my reflections.
    [Show full text]
  • Chinese Overlay Peking Glass Vases, One Pair, Of
    LOW HIGH Lot Description Estimate Estimate 4000 (lot of 4) Chinese overlay Peking glass vases, one pair, of green and white stick neck vases with gourd vines; the other pair, of blue and white with flowers, 9.25"h $ 200 - 400 (lot of 4) Chinese hardstone vessels, consisting of a cup with a zoomorphic handle; two 4001 green mottled bowls; and a blue and white porcelain snuff bottle with rabbits, largest (bowl): 4"w $ 200 - 400 4002 Chinese yellow Peking glass vase, carved with dragons amid rolling waves, 10.25"h $ 100 - 200 Chinese Peking glass overlay vase, with brown geese and lotus in contrast with a gilt 4003 flecked semi-translucent ground incised with a wave pattern, 6"h $ 300 - 500 (lot of 4) Chinese enameled porcelain plaques, each with different mountain and river 4004 scenery, each with colophon to the upper left, bearing signature 'Wang Yeting', 8"h × 5.25"w $ 400 - 600 Chinese porcelain seal paste box, the circular lid decorated with a scholar in front of a 4005 villa, base with an apocryphal Qianlong mark, 2.5"w $ 150 - 250 Chinese porcelain doucai stem cup, exterior decorated with grape vines, the base with an 4006 apocryphal Chenghua mark, 2.5"h $ 200 - 400 (lot of 3) Chinese enameled porcelain seal paste boxes, the first, of cranes and peonies; 4007 the second, of birds and flowering branches, the base with apocryphal Qianlong mark; the last, of five orange bats amid underglaze blue clouds and base with apocryphal Kangxi mark, 3.5"w. Provenance: Estate of Reynold Tom of Oakland, CA $ 200 - 400 (lot of 3) Chinese enamel
    [Show full text]