Practical information The exhibition programme Palais Lumière, Evian (Quai Charles-Albert Besson) Open every day 10 a.m.-7 p.m. (Monday 2-7 p.m.) and on public holidays (14 July and 15 August). Evening visits every Thursday until 9 p.m. (in July-August). Tel. +33 (0)4 50 83 15 90 / www.ville-evian.fr / Join the Palais Lumière on Every day (during the exhibition) Reservation required Curators: Olivier Le Bihan, head curator for heritage and university professor, Robert Rocca, • Non-stop projection: “Visit to ”, • Workshop available for schools in Sep- assistant, and William Saadé, honorary head curator for heritage and scientific advisor at the a film by Paul Haesaerts, Art et Cinéma tember (infants, primary, secondary schools). Palais Lumière. Production. Copyright Eyeworks Film & TV Reservation required: 04 50 83 10 19 or courrier@ Drama. ville-evian.fr. Workshop (2 hrs) preceded by a short Prices - Educational workshops: for schools, youth centres, holiday centres (see details in: “about the exhibi- visit to the exhibition (30 mins). €55 per class. • All visitors Friday 17 August tion”), €55 per group - Adults: €10 • Concert “Unitrio plays Picasso”, an original Monday 2 and Tuesday 3 July at 5 p.m. - Teaching resources online on www.ville-evian.fr and attractive journey combining music and - Joint visit with the exhibition “Evian Mondain” at • Free guided visits open to primary and the Maison Gribaldi: 1% off admissions • Special rates (proof required) painting with Frédéric Borey (saxophone), Da- secondary school teachers - Guided visit for individual visitors every day at 2.30 - Free for members of the UDOTSI, Léman Sans mien Argentieri (organ) and Alain Tissot (drums). p.m. €4 in addition to price of admission Frontière and journalists Palais Lumière Auditorium, 8 p.m. €16 / €13 (dis- • Holiday courses (ages 6-12) - Themed visits: €4 in addition to price of admission - Discounts: See details on: www.palaislumiere.fr counts). Included in the visit to the exhibition. Ticket (see details in “about the exhibition”) - 50% off admission (adult or discounts) on presenta- service and reservations at reception. Tuesday 17 and Wednesday 18 July - French/English audio-guides: €4 in addition to tion of a “City of Evian” family card The “Mino’terre”, creation of a painted mo- price of admission - 30% off admission to exhibitions on presentation Friday 7 September of a ticket for the Fondation Pierre Gianadda in delling clay or clay . “Introduction to Gustave Moreau, Athenians Given to the Minotaur in the Cretan Labyrinth, 1854, oil on canvas. • Young people / families • Conference-projection “Picasso and the Martigny. a potter’s work”, with Valéry André and Alice Bourg-en-Bresse, royal monastery, Musée de Brou © RMN. - Free for children under 16 Minotaur: at the sources of inspiration”, Martin, ceramic artists. Studio-gallery “Matin - Discounts: €8 for students and large families, • Partnership offers introduced by Olivier Le Bihan, exhibition Ocre”, 8, Rue Pierre et Gustave Girod. www. members of the “Petit Léonard” club - Rencontres Musicales Festival / Festival Off curator. matinocre.com. - Discovery visit for children (under 16) with their Purchase of a ticket for the exhibition gives visitors a Palais Lumière Auditorium, 7.15 p.m. Free (thanks to parents, every Wednesday at 4 p.m. (adults: €8) discount on admission to a concert during the Ren- sponsorship by the Friends of the Palais Lumière). Tuesday 21 and Wednesday 22 August - “Little Palais Lumière game” (ages 6-12): an contres Musicales d’Evian Festival and the Festival Off “The monster in the labyrinth”, writing, entertaining booklet for your visit to the exhibition, (information and reservations on the website: www. Workshops drawing, collage workshop. Creation of a available from the reception; rencontres-musicales-evian.fr) and the Académie • Workshops for children (ages 6-12) giant-sized labyrinth. - Educational workshops: €5 for children-teenagers Musicale (www.academie-musicale.fr for the Festival for workshop with your family (€8 for adults) (see Off), and conversely. - Saturday 1 September: “The monster Palais Lumière, 2-4 p.m. Workshop preceded by a details in: “about the exhibition”) short visit to the exhibition (30 mins). Reservation - “Les Salons d’Emilie” in the studio”, design a monster (drawing, - Courses and workshops during the holidays: €8 for collage, cut-out). required on 04 50 83 15 90: €8 / Child for 2 days. Purchase of a ticket for the “Les Salons d’Emilie” two sessions (see details in “about the exhibition”) concerts given by the Terres Musicales association - Saturday 8 September: “The mask of the • The Pathways to Culture • Groups in the Palais Lumière hall gives you a discount on minotaur”, make your own mask, Picas- (arts, history, literature students) - Discounts: 8 € (groups of under 10 people) admission to the exhibition. Purchase of ticket for the so-style. - Guided visits, reservation required: 04 50 83 10 19 / exhibition also gives you a disc, and conversely. From 18 to 21 September and from 2 to Palais Lumière, 10 a.m.-noon. Workshop (2 hrs) [email protected], €55 for groups of 10 to 25 5 October • Exhibition catalogue: co-published by the Palais preceded by a short visit to the exhibition (30 mins). people, in addition to price of admission Lumière-Somogy Editions, on sale in the shop: €35 As part of the “Pathways to culture” cam- Registration required at reception: €5 / child. • School groups / teachers paign launched by the local authorities: an - Free for school groups • Family workshop (ages 3 and over) introductory visit to heritage and the plastic Tickets on sale in the FNAC network and on www. - Guided visits, reservation required: 04 50 83 10 19 fnac.com. And in the CGN sales - Saturday 6 October: “Paper, colour, arts. Visit to the exhibition, the Palais Lumière / [email protected], €55 for groups of 10 to 30 outlets (boats and ticket offices) Minotaur” (drawing, collage, colouring). and workshops. Isabelle de Borchgrave, “Picasso-Minotaur pupils Palais Lumière. and the seven women of the Labyrinth”. Detail Palais Lumière, 10 a.m.-noon. Workshop (2 hrs) of the installation, 2017-2018 © Jean-Claude Reservation required on 04 50 83 10 19. 2018. © Picasso Estate Claude Germain © Photograph 1958, oil on wood preceded by a short visit to the exhibition (30 mins). Encalado and © Isabelle de Borchgrave. What to see in 2018-2019 Registration required at reception: €5 for children and €8 for adults At the Palais At the Maison At the Fondation At the Jenisch Lumière Gribaldi Pierre Gianadda Museum in Vevey Minotaur, • 24 Nov-17 Feb. 2019 •Until 4 November in Martigny • 21 June-7 Oct. 2018 “Legends of the “High society Evian, • 15 June-19 Nov. 2018 “Picasso, Curtain-rai- François-Xavier Lalanne, The Minotaur, 1970, calamined and North” the golden age of the “Pierre Soulages” ser, the Arena, the soldered sheet metal. Fine Arts Museum, Agen © Lalanne ADAGP. spa” Workshop, the Alcove” Picasso, Pablo In 1959, , with his face young virgins and seven youths drawn coins in antique Knossos. The legendary Sacrifices masked by a bull’s head made of wic- by lot to Crete to satisfy the Minotaur’s character became a familiar feature in In 1936, Georges Bataille published ker, posed as the “Minotaur” for the appetite. The hero Theseus chose to join the Picasso repertoire of the 1930s. It was Sacrifices. The writer looked at the per- photographer Edward Quinn in his the young people to fight the monster. humanised and lent itself to all the meability of the borders between the studio in the in Once in Crete, he fell in love with one of playful use of masks and roles the painter sacred and the profane, horror and Cannes. With a series of bull masks, the king’s daughters, Ariane. She gave could imagine, even becoming as one beauty, eroticism and death. The work the artist revisited the myth that had him the ball of thread that helped him with him. The monster entered the stu- was illustrated by Masson (Mithra, brought his inspiration back to life in find his way out of the labyrinth after dio, seduced the models, feasted and Orphée, Le Crucifié, , Osiris). In the late 1920s. killing the Minotaur. went to the bull ring. It haunted the 1992, Ernest Pignon-Ernest immortalised engraved plates in the and the image of Picasso cutting a bull’s The Cretan Legend The seven women of the labyrinth featured on the vast curtain at the throat in a large drawing, Picasso-Mithra. Edward Quinn, Picasso wearing a bull mask Pablo Picasso (based on), Minotaur running, Alhambra Theatre for Romain Rolland’s Legend has it that the god Poseidon While the Ancient Greek heritage gave made of rattan, 1959, photograph National 1935, wool and silk tapestry (Manufacture des The work recalled that the Indo-Persian play 14 July. But the warning signs of war placed a curse on Queen Pasiphaë, to pride of place to the example of Theseus’ Picasso Museum, Paris © Picasso Estate 2018 © Gobelins), Picasso Museum, Antibes. Picture cult of Mithra linked the sacrifice of a bull Edwardquinn.com. © François Fernandez © Picasso Estate 2018 brutally put an end to the erotic games punish Minos, the king of Crete, for victory over the monster, Picasso broke Pablo Picasso (according to), The Minotauro- to the promise of eternity. Picasso did of the studio and revealed its deadly machie, 1991, smooth low tapestry, wool, private having forgotten to sacrifice the finest with this tradition and adopted the and the seven women of the Labyrinth” what King Minos had forgotten to do bestiality. collection © Cauquil-Heck, Darius Hecq-Cauquil bull in his herd to him. The queen fell in viewpoint of his adversary. The Minotaur gives each of his muses the virtue of quadruped with a human torso. The dis- © Picasso Succession 2018 © ADAGP, Paris 2018. and which had given rise to the Minotaur. love with a bull and, from their adulte- embodies the vigour and complexity of embodying a “period” or even a style, by covery in Herculaneum of a fresco rous union, was born a hybrid creature, inspiration. Isabelle de Borchgrave has identifying them with a form of clothing. showing Theseus overcoming the The Minotaur review Surrealists, became a multi-disciplinary Minotaur overturned this tradition in Joan Miró, Cover of n°7 of the review half human, half bovine. To keep the used this character trait to bring together In a Europe darkened by the rise of the laboratory for living art. Picasso designed Minotaure, 1935, autographed for Henriette monster hidden, the architect Daedalus the seven main female “victims” of the The neo-classical Minotaur favour of the image of a man with a bull’s extremes, the hybrid monster embodied the cover for the first issue (Minotaur Gomès. Marc Lebouc Collection © ADAGP, Paris head. The neoclassical masters followed Photo © Bouquinerie de l’Institut. built a labyrinth. Every nine years, the artist in a paper labyrinth. This original While the iconography centring on the all the latent tensions revealing our dual with a dagger), and Henri Matisse, this tradition, as did the Romantic sculp- Pablo Picasso, Dora and the Minotaur, 5 September 1936, graphite pencil, coloured pen- Athenians had to send a tribute of seven installation entitled “Picasso-Minotaur minotaur abounded in Antiquity, it nature, human and animal, rational and Salvador Dali, Max Ernst, André Masson tor Antoine-Louis Barye. But in the mid- cils, ink and grattage on vellum paper. National Picasso Museum, Paris © Picasso Estate remained little used by modern artists irrational, conscious and unconscious. and Joan Miró all took part in this outs- 2018 © RMN. 19th century, the painter Gustave Moreau until the mid-18th century. They generally The Minotaure review, published tanding publication. did try to revive the mythical image of depicted the monster in the form of a between 1933 and 1939 by Albert the quadruped, using collections of inta- and Tériade, a publication close to the glios and cameos from Antiquity as his model.

The Minotaur on stage and on theatre curtains An essential part of the Minotaur’s histo- ry was played out in the theatre. Archaeological discoveries had a great influence on set designers in the early 20th century. In 1917, Picasso took advan- tage of a stay in Italy to visit Rome, Naples and Pompei. His interest in the great Mediterranean civilisations met up with that of contemporary dramatists. In Pablo Picasso, Minotaure caressant du mufle 1928, his first depictions of the Minotaur la main d’une dormeuse, 1933-1934, drypoint. revived the stylised design of Attic vase Pablo Picasso, Minotaur and nude, 12 December 1933, charcoal on paper. Private collection © Sylvie Mazo Collection © Picasso Estate 2018 Picasso Estate 2018 © Photograph Claude Germain. Photo © Bouquinerie de l’Institut. painting and the effigies stamped on Ernest Pignon-Ernest, Picasso-Mithra, 1992, charcoal drawing. Private collection © N’Guyen.