The Ey Exhibition: Picasso 1932 Love Fame Tragedy

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THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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1 ‘The work that one does is a way of keeping a diary’

Pablo Picasso

2 1 Cecil Beaton, Picasso in his apartment at 23 rue La Boétie, 1933 Photo © The Cecil Beaton Studio Archive at Sotheby’s. © Succession Picasso/DACS, London 2018

3 2 Unknown photographer, Olga Picasso in Picasso’s studio, Fontainebleau, France, 1921 Photo © Pool Benainous/Scorcelletti/Gamma-Rapho. © Succession Picasso/DACS, London 2018

4 3 Unknown photographer, Paulo Picasso aged 11 Collection Roger Viollet. Photo © Getty Images

Quotation: Pablo Picasso in Tériade, ‘En causant avec Picasso’, L’Intransigeant, 15 June 1932, p.1

5 LOVE FAME TRAGEDY

1932 was a make-or-break year for Pablo Picasso (1881– 1973). In October 1931 he had turned fifty. He was inundated with invitations to exhibit his work. At the same time, critics openly discussed whether he was an artist of the past rather than the future. Picasso’s grand apartment on the rue La Boétie, his tailored suits and chauffeur-driven car symbolised his rise from poor Spanish migrant to international superstar, as did his marriage to the Russian ballerina Olga Khokhlova, his principal model and inspiration for much of the late 1910s and early 1920s.

But Picasso felt increasingly restless and critically sidelined. He bought an eighteenth-century mansion in the Normandy countryside where he experimented with sculpture. He created a chaotic studio in a Parisian apartment identical to the one below in which he lived a life of bourgeois respectability with his wife and son. He was in a secretive relationship with a younger woman, Marie-Thérèse Walter. He flirted with surrealism while trying to beat Henri Matisse at his colourful game.

These contradictions were brought into focus by his first major retrospective in June 1932. In the preceding months Picasso channelled his energies into ambitious paintings intended to silence his detractors. As the year progressed,

6 the mood darkened from sensuous exuberance to ominous anxiety. Rarely overtly political, Picasso’s work nonetheless reflected the times: a world – including his native Spain – increasingly in the grip of economic depression, mass unemployment, populist nationalism and the rise of totalitarian regimes. If 1932 began for Picasso under the sign of love, it ended with a premonition of tragedies to come.

7 Clockwise from wall text

Woman with Dagger La Femme au stylet

Oil paint on canvas Saturday 19 – Friday 25 December 1931, Paris

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP136 X64209 1

Woman in a Red Armchair Femme au fauteuil rouge

Oil paint on canvas Friday 25 December 1931

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63688

8 ‘Essentially there is only love. Whatever it may be.’

Pablo Picasso

9 Pablo Picasso, Flaming Heart

Picasso has drawn a heart and arrow around the years, written by Marie-Thérèse Walter, marking the duration of their relationship to date.

Private collection. © Succession Picasso/DACS, London 2018

Quotation: Pablo Picasso in Tériade, ‘En causant avec Picasso’, L’Intransigeant, 15 June 1932, p.1

10 1

Christmas Day 1931, 23 rue La Boétie: having spent the festivities with family and friends, Picasso completed a small painting he had worked on for a week. Woman with Dagger is a surrealist nightmare of a woman killing her sexual rival. The same day, he also painted a large canvas of a seated woman, her facial features replaced with a heart. While the former alluded to increasingly strained marital relations, the latter was a painterly dream about Picasso’s secret lover, 22-year-old Marie-Thérèse Walter.

Just as Olga Picasso and Marie-Thérèse Walter demarcated the poles of Picasso’s personal life, so his work explored the tensions between painting and sculpture, surrealist distortion and sensual colour harmonies. This complex force field gave rise to some of Picasso’s most accomplished works. It was his urge to renew and reinvent himself which turned 1932 into Picasso’s ‘year of wonders’.

11 12 13 Seated Woman Femme assise

Plaster 1931, Boisgeloup

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP288 X64293

The Sculptor Le sculpteur

Oil paint on plywood Monday 7 December 1931

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP135 X60668

14 Monday 18 January 1932

Still Life at the Window Nature morte à la fenêtre

Oil paint on canvas

Private collection X59697

1931–2

Head of a Woman Tête de femme

Bronze

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP302 2 X64300

15 Sunday 30 October 1932 Boisgeloup

Seated Woman by a Window Femme assise près d’une fenêtre

Oil paint on canvas

Earth Light Foundation, Vaduz X60048

16 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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17 ‘When I paint a woman in an armchair, the armchair, it’s old age and death, isn’t it? Too bad for her. Or maybe it’s for her protection.’

Pablo Picasso

19 2 Brassaï, Picasso’s studio at 23 rue La Boétie, 1933 Photo © RMN-Grand Palais (Musée national Picasso – Paris)/ image RMN-GP. © Succession Picasso/DACS, London 2018. © Estate Brassaï

20 3 New York Herald [Tribune] report of the sale of Picasso, La Coiffure Photo © RMN-Grand Palais (Musée national Picasso – Paris)/ image RMN-GP

Quotation: Pablo Picasso in André Malraux, La Tête d’obsidienne, Paris 1974, p.128

21 JANUARY AND FEBRUARY

On 26 February 1932, Picasso’s La Coiffure (1905) sold in Paris for a record-breaking 56,000 Francs. Aside from raising hopes that the worst of the economic crisis might be over, this price was indicative of the high regard in which Picasso’s early work was held. Moments such as this strengthened Picasso’s resolve to prove his continued relevance.

Throughout January, with his impending retrospective in mind, Picasso produced in his Paris studio a series of ambitious portrait paintings. All of them depict a female figure seated in an armchair, reading, sleeping or apparently absorbed in music. The sitter is almost certainly Marie-Thérèse Walter. The model, though, is imagined rather than real as Picasso was not in the habit of painting from life.

Despite their shared subject matter, the paintings differ greatly in style and mood. Saturated colour harmonies alternate with surrealist distortion; at times the figure is shown in sensual abandon, at others it veers towards caricature or dissolves altogether into a sculptural arrangement of abstracted shapes. Seen together, these paintings testify as much to Picasso’s restless inventiveness as to his complex relationship with the women in his life.

22 The still life from early February markeda momentary break from the female figure as the dominant subject of Picasso’s work in 1932.

23 Clockwise from wall text

Saturday 2 January 1932 Paris

Figures by the Sea I Figures au bord de la mer I

Oil paint and chalk on canvas

Though one of the first paintings Picasso made in 1932, it clearly relates stylistically to works of the late 1920s. This raises the question as to whether Picasso dated works when he began their making or when he considered them complete. Subsequent groups of works show greater coherence, suggesting that, if they were not made in a single day, he produced them over a short period of time that ended with the inscribed date.

Museo Nacional Centro de Arte Reina Sofía, Madrid X61634

24 Saturday 2 January 1932 Paris

Reading La Lecture

Oil paint on canvas

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP137 3 X59341

Saturday 23 January 1932 Paris

Sleep Le Sommeil

Oil paint on canvas

Private collection X59698

25 Sunday 24 January 1932 Paris

The Dream Le Rêve

Oil paint on canvas

Sleep and dream were central to the surrealist imagination but had long allowed artists to represent women for voyeuristic enjoyment. The Dream depicts a female figure in a state of abandon, perhaps after sex. The sitter is Marie- Thérèse Walter, Picasso’s lover of five years. The image goes beyond naturalistic portraiture to convey the artist’s emotional response. The fact that the upper half of the sleeping face resembles an erect male member attests to the artist’s desire to overcome sexual separation altogether.

Private collection 5 X59739

26 Thursday 11 February 1932

Fruit Bowl and Guitar Compotier et guitare

Oil paint on canvas

Nahmad Collection, Monaco X59693

Wednesday 27 January 1932 Paris

Woman in a Red Armchair Femme au fauteuil rouge

Oil paint on canvas

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP138 X59447

27 Saturday 30 January 1932 Paris

Seated Woman in a Red Armchair Femme assise dans un fauteuil rouge

Oil paint on canvas

Musée national Picasso – Paris. Dation Pablo Picasso, 1979.

MP139 6 X59989

Sunday 10 January 1932

Young Woman with Mandolin Jeune Fille à la mandoline

Oil paint on board

The University of Michigan Museum of Art, Ann Arbor, Michigan. Gift of The Carey Walker Foundation X59695

28 Saturday 9 January 1932

Reading La Lecture

Oil paint on wood

Private collection X59694

29 Dividing Wall

Wednesday 6 January 1932 Boisgeloup

The Yellow Belt La Ceinture jaune

Oil paint on canvas

Nahmad Collection, Monaco X59691

30 Friday 22 January 1932 Paris

Rest Le Repos

Oil paint on canvas

There is often a thin line between beauty and terror in Picasso’s work. The distorted female figure here is clearly indebted to surrealism. The sitter’s posture blurs the boundaries between ecstasy and hysteria, abandon and agony. In biographical readings of Picasso’s work, Rest is frequently associated with difficulties in his 15-year marriage to Olga. However, it also reflects his interest in the connections between desire, sex and violence being explored at this time by the surrealists, and in the developing field of psychoanalysis.

Private collection 4 X60025

31 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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32 ‘He opened the door to one of these large stalls, and we were able to see the dazzling whiteness of an entire people of sculpture.’

Bressaï

Quotation: Brassaï, Conversations with Picasso, 1999, p.16

33 BOISGELOUP

In June 1930, Picasso had purchased an eighteenth-century château in Normandy. Boisgeloup provided a welcome retreat from city and public life, and was an easy drive from Paris in the chauffeur-driven Hispano-Suiza limousine the artist now owned. Despite its basic plumbing and heating, in the spring and summer months the mansion became a gathering place for family and friends. When neither was present, it served as a secret meeting place for Picasso and Marie-Thérèse Walter.

A room on the second floor of the corner tower, offering sweeping views across the village of Gisors, became Picasso’s painting studio. He turned one of the stables into a sculpture studio. Throughout 1931 he developed a new sculptural language, transforming Walter’s strong features into solid volumes and bulbous shapes.

The Boisgeloup sculptures were published for the first time in a series of photographs by French-Hungarian photographer, Brassaï, taken at the end of 1932. They were also a key reference for Picasso’s painting in the first half of the year.

34 Clockwise from wall text

Large wall image: Brassaï, The entrance to Picasso’s sculpture studio at Boisgeloup, with Tériade and Bob, the Pyrenean mastiff, 1932

Photo © RMN-Grand Palais (Musée national Picasso – Paris)/image RMN-GP. © Succession Picasso/DACS, London 2018. © Estate Brassaï

35 1932

Sculpture of a Head Sculpture d’une tête Charcoal on prepared fabric

Fondation Beyeler, Riehen/Basel, Sammlung Beyeler X59662

36 Brassaï photographs

Brassaï 1899–1984

Doorway into the Sculpture Studio at Boisgeloup with Tériade and Bob, the Pyrenean Mastiff

Photograph, gelatin silver print on paper 1932, printed c.1950

Musée national Picasso – Paris. Achat 1986. MP1986-5 © Succession Picasso/DACS, London 2018. © Estate Brassaï X69882

37 Brassaï 1899–1984

Plaster Sculptures in the Studio at Boisgeloup

Photograph, gelatin silver print on paper 1932

Musée national Picasso – Paris. Achat 1996. MP1996-241 © Succession Picasso/DACS, London 2018. © Estate Brassaï X69883

Brassaï 1899–1984

Plaster Sculpture, ‘Head of a Woman’, and Other Works in Plaster in the Studio at Boisgeloup

Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Achat 1986. MP1986-7 © Succession Picasso/DACS, London 2018. © Estate Brassaï X69884

38 Brassaï 1899–1984

Plaster Sculpture, ‘Head of a Woman’, in the Studio at Boisgeloup, Gisors

1932 Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Achat 1996. MP1996-105 © Succession Picasso/DACS, London 2018. © Estate Brassaï X69885

Brassaï 1899–1984

Plaster Sculpture, ‘Head of a Woman’, 1931

Photograph, gelatin silver print on paper 1932

Musée national Picasso – Paris. Achat 1996. MP1996-96 © Succession Picasso/DACS, London 2018. © Estate Brassaï X69887

39 Brassaï 1899–1984

Plaster Sculptures in the Studio at Boisgeloup at Night

Photograph, gelatin silver print on paper 1932

Musée national Picasso – Paris. Achat 1986. MP1986-4 © Succession Picasso/DACS, London 2018. © Estate Brassaï X69888

40 Brassaï 1899–1984

Façade of the Château de Boisgeloup at Night, Illuminated by Car Headlights

Photograph, gelatin silver print on paper December 1932

Musée national Picasso – Paris. Achat 1996. MP1996-246 © Estate Brassaï X69890

41 In Vitrine

Boisgeloup

Acquired by Picasso in 1930, the château at Boisgeloup provided the ideal place for the artist to spend time with family and friends. Away from the distractions of Paris life, he pursued his work in sculpture with a new energy. The disused stable became a dedicated sculpture studio where he also experimented with printmaking. In addition, a small room at the top of the house was converted into a painting studio.

Brassaï 1899–1984 Photographer Gyula Halász, better known by his pseudonym Brassaï, met Picasso in 1932. Publishers Eugène Tériade and Albert Skira had commissioned him to document Picasso’s studios in Boisgeloup and Paris. His photographs were published in early 1933 in the first edition of the surrealist magazine, Minotaure. They revealed hitherto highly-protected private places in Picasso’s life, and introduced his sculptures, their volume accentuated by the theatrical lighting.

42 Brassaï 1899–1984

Entrance gate to the Château de Boisgeloup, Gisors

1932 Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Achat 1996. MP1996-249 © Estate Brassaï X69787

43 Brassaï 1899–1984

Entrance to the Château de Boisgeloup, Gisors

1932, printed c.1960 Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Achat 1996. MP1996-319 © Estate Brassaï X69788

Unknown photographer

The château at Boisgeloup with Pablo and Olga Picasso and the governess

Early 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6513 X69800

44 Brassaï 1899–1984

The Château de Boisgeloup with Olga Picasso on the lawn, Gisors

Early 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6514 © Estate Brassaï X69790

45 Unknown photographer

The sculpture studio at Boisgeloup, with Elfe the dog in the foreground 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6511 X69791

List of sculpture materials from Benjamin Benno for Pablo Picasso

1 June 1931 Handwritten documents on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/C/11/41/1 (2) X70074

46 Family and Friends at Boisgeloup

Picasso discovered Boisgeloup through his friend, the painter Elie Lascaux. Lascaux was the son-in-law of Daniel-Henry Kahnweiler, Picasso’s main dealer during his cubist period twenty years earlier.

Olga Picasso loved Boisgeloup and it would become hers after she and Picasso separated. Family and friends, artists and dealers, were regular visitors to the countryside with Marie-Thérèse Walter a frequent, though secret, presence.

Unknown photographer

Pablo Picasso with Bob, a Pyrenean mastiff, in the grounds of Boisgeloup

Early 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6496 X69803

47 Unknown photographer

Olga Picasso with Bob, the Pyrenean mastiff, Boisgeloup

Early 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6074 X69802

Unknown photographer

Paulo Picasso with Bob, the Pyrenean mastiff, in the grounds of Boisgeloup

Early 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6066 X69805

48 Unknown photographer

Paulo Picasso in his toy car in the grounds at Boisgeloup

Early 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6070 X69806

Unknown photographer

Olga, Doña Maria and Pablo Picasso, Boisgeloup, the weekend after Paulo’s first communion 30 April – 1 May 1932 Photograph, gelatin silver print on paper

49 Unkonwn photographer

Olga, Dona Maria and Pablo Picasso, Boisgeloup, the weekend after Paulo’s first Communion

30 April – 1 May 1932

Unknown photographer

Pablo Picasso, Daniel-Henry Kahnweiler, Marcelle Braque and Berthe Lascaux at the Château de Boisgeloup, Gisors

Early 1930s Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6503 X69807

50 Unknown photographer

Picasso with friends Elie Lascaux, Louise Leiris, Berthe Lascaux, Lucie Kahnweiler, Daniel-Henry Kahnweiler and Michel Leiris on the terrace at Boisgeloup

1933 Photograph, gelatin silver print on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6493 X69808

51 Letter of thanks from Kate and Justin K. Thannhauser to Olga and Pablo Picasso

14 July 1932 Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/C/167/33/1 X70073

Picasso’s Lifestyle at Boisgeloup

Later in life, Picasso declared that he liked to live as a poor man with lots of money. Boisgeloup, like his fashionable Paris apartment, showed his desire for a bohemian lifestyle underpinned by wealth. These documents reveal unrealised plans for a swimming pool and an advertisement for a luxury Hispano-Suiza car like the one Picasso owned – complete with chauffeur.

52 1/200 scale project for a swimming pool in Boisgeloup

July 1932 Graphite, watercolour and gouache on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/E/11/2/46 X70082

Receipts from G Feuguer, butcher, Gisors

30 September – 10 October 1932 Ink and graphite on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/A/13/1/1-9 X70092

53 Grocery bill, Gisors

28 July 1932 Ink and graphite on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/E/11/2/48 (1) X69983

Unknown photographer

Pablo Picasso’s Hispano-Suiza in the courtyard at Boisgeloup

Photographic facsimile on paper, 2012

54 Advertising leaflet for Hispano-Suiza

1932 Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/A/17/1/1 X70085

55 Central Sculptures Clockwise

Bust of a Woman Buste de femme

Plaster 1931, Boisgeloup

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP293 X64295

Bust of a Woman Buste de femme

Cement 1931, Boisgeloup

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP299 X64297

56 Head of a Woman Tête de femme

Plaster 1931, Boisgeloup

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP291 X64292

57 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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58 ‘Two days ago, at his place, we saw two paintings he had just done. Two nudes that are perhaps the greatest, most moving things he has produced. It’s not Cubist, not naturalistic, it’s without painterly artifice, it’s very alive, very erotic, but with the eroticism of a giant. We came away from there stunned.’

Daniel-Henry Kahnweiler

59 Cecil Beaton, Picasso in his apartment at 23 rue La Boétie, 1933 (with the portrait of his wife Olga displaced by one of Marie-Thérèse Walter)

Photo © The Cecil Beaton Studio Archive at Sotheby’s. © Succession Picasso/DACS, London 2018

Quotation: Daniel-Henry Kahnweiler in a letter to Michel Leiris, 19 March 1932

60 EARLY MARCH

Early March marked a moment of extraordinary creativity, even by Picasso’s standards. Over the course of twelve days, he painted a group of large canvases which are exceptionally rich in colour and composition.

In one of the earliest, a bust in profile, suggesting both the Boisgeloup sculptures and Marie-Thérèse Walter, looks out beyond a still life. In the painting dated 8 March, the sculpture gazes at a philodendron plant and a reclining nude. In subsequent works, the nude takes centre stage, sleeping with her head in her arms.

While being a great formal innovator, Picasso privileged traditional subjects rooted in the history of Western painting such as portraits, still lifes and reclining nudes, a popular subject from the Renaissance onwards. Girl Before a Mirror echoes a similar painting by the French nineteenth-century artist, Edouard Manet, who was the subject of a major exhibition in Paris in 1932 which coincided with Picasso’s own. Like his friend and rival, Henri Matisse, Picasso sought continually to prove that figurative painting could be modern by injecting it with a new sensuality inspired by Walter.

61 Clockwise from wall text

Thursday 3 March 1932 Paris

Still Life: Bust, Cup and Palette Nature morte: buste, coupe et palette

Oil paint on canvas

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP140 X59451

Head of a Woman Tête de femme de profil

Bronze. Unique cast 1931

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP297 X64296

62 Monday 14 March 1932 Paris

Girl before a Mirror Jeune Fille devant un miroir

Oil paint on canvas

Contrary to popular myth, it is unclear how much time Picasso and Marie-Thérèse Walter actually spent together across 1932. Even less is known about Walter’s presence in Picasso’s studio as he was not in the habit of painting from live models. Walter described their relationship thus: ‘My life was always secret with him, calm and quiet, and we didn’t say anything to anyone and we were happy like that. That was enough for us.[…] I was smothered with love and kisses and jealousy and admiration. Happy, can I put it better than that?’

The Museum of Modern Art, New York. Gift of Mrs. Simon Guggenheim, 1937 9 X59651

63 Saturday 12 March 1932 Paris

The Mirror Le Miroir

Oil paint on canvas

Private collection X59913

Wednesday 9 March 1932 Paris

Nude in a Black Armchair Nu au fauteuil noir

Oil paint on canvas

Private collection, USA X60027

64 Tuesday 8 March 1932 Paris

Nude, Green Leaves and Bust Femme nue, feuilles et buste

Oil paint on canvas

Private collection 8 X64218

Wednesday 2 March 1932 Paris

Still Life with Tulips Nature morte aux tulipes

Oil paint on canvas

Private collection X59912

65 1932 Boisgeloup

Head of a Woman Tête de femme

Plaster

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP295 X60085

66 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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67 ‘You start a painting and it becomes something altogether different. It’s strange how little the artist’s will matters.’

Pablo PIcasso

68 1 Brassaï, View of Boisgeloup, 1932 Photo © RMN Grand Palais (Musée national Picasso – Paris)/ Daniel Arnaudet. © Estate Brassaï

69 2 Unknown photographer, View of Boisgeloup, 1932 Photo © RMN Grand Palais (Musée national Picasso – Paris)

70 3 Katsushika Hokusai, The Dream of the Fisherman’s Wife, 1814 Photo © PFH 1186646/Pictures from History/Bridgeman Images

Quotation: Pablo Picasso to Daniel-Henry Kahnweiler in ‘Entretiens avec Picasso au sujet des Femmes d’Alger’, Aujourd’hui, September 1955. Cited in M-L Bernadac and A Michael (eds.), Picasso propos sur l’art, Paris, 1998, p.72

71 LATE MARCH TO MAY

If Picasso’s paintings in early March were major public statements, those later that month explored the darker realms of the unconscious. Painted across the Easter period, during a prolonged visit to Boisgeloup, they show abstracted female bodies, their orifices accentuated by the sun or the moon above. Paul Rosenberg, Picasso’s dealer since 1918, declined to show the paintings, commenting wryly: ‘No, I refuse to have any arse-holes in my gallery.’

The large horizontal nudes from April reveal Picasso’s renewed engagement with surrealism. Depending upon the viewer’s point-of-view, the figures can turn from nude to octopus holding a skull, and back again. One source of inspiration may have been an early documentary by the French filmmaker Jean Painlevé, revered by cinema enthusiasts like Picasso; another was Japanese erotica, known as ‘shunga’, by, among others, the nineteenth- century painter and printmaker, Hokusai.

As Picasso’s retrospective approached, his focus on painting increasingly gave way to the practicalities of organising this ambitious show. Woman in a Yellow Armchair is one of the last large figure paintings made in anticipation of the exhibition at the Galeries Georges Petit in June.

72 Clockwise from wall text

Tuesday 17 May 1932 Boisgeloup

Rest Le Repos

Oil paint on canvas

Collection of Mr Giancarlo Giammetti, London X59918

April 1932

Woman in a Yellow Armchair Femme dans un fauteuil jaune

Oil paint on canvas

Private collection X59914

73 In vitrine

Etienne Bignou 1891–1950

Letter inviting Picasso to have a retrospective exhibition at the Galeries Georges Petit, Paris, together with two lists of works

12 April 1932 Ink and graphite on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/C/14/9/9 (1-3) X70079-81

74 Paulo Picasso’s First Communion

On 28 April 1932, Paulo Picasso took his first communion at the Church of Saint-Augustin in Paris. The celebrations were attended by friends and family including Picasso’s mother Doña Maria. Here, Paulo Picasso, his parents and grandmother pose for the professional photographer in a moment of familial intimacy.

75 Monday 16 May 1932 Boisgeloup

Woman Sleeping Femme endormie

Oil paint on canvas

Private collection X63882

76 Jean Painlevé 1902–1989

The Octopus La Pieuvre

35 mm film, black and white, silent 10 min 1928

Courtesy and copyright Archives Jean Painlevé, Paris X70495

77 Saturday 2 April 1932 Boisgeloup

Reclining Nude Femme nue couchée

Oil paint on canvas

Private collection 11 X60053

Monday 4 April 1932 Boisgeloup

Reclining Nude Nu couché

Oil paint on canvas

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP142 X59473

78 Friday 25 March 1932 Boisgeloup

Reclining Nude Sunbathing on the Beach Femme étendue au soleil sur la plage

Oil and charcoal on tracing paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1069 X59456

Reclining Woman on the Beach Femme étendue sur la plage

Oil paint and charcoal on canvas

Private collection X63675

79 Saturday 26 March 1932 Boisgeloup

Reclining Woman on the Beach Femme nue couchée au soleil sur la plage

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63676

Reclining Woman on the Beach Femme étendue sur la plage

Oil paint on canvas

Private collection X61969

80 Monday 28 March 1932 Boisgeloup

Woman on the Beach Nu sur la plage

Oil paint on canvas

The Penrose Collection 10 X59654

Tuesday 29 March 1932 Boisgeloup

View of Boisgeloup Vue de Boisgeloup

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63824

81 Wednesday 30 March 1932 Boisgeloup

Boisgeloup in the Rain Boisgeloup sous la pluie

Oil paint on fabric

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP141 X59472

Boisgeloup in the Rain Boisgeloup sous la pluie

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63825

82 Friday 6 May 1932 Boisgeloup

Village in the Rain. Rainbow Village sous la pluie. Arc-en-ciel

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X61971

Boisgeloup in the Rain, with a Rainbow Boisgeloup sous la pluie, et arc-en-ciel

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63827

83 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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84 ‘I feel like I am witnessing a retrospective vision of myself ten years after my death.’

Pablo Picasso

85 1 Unknown photographer, Picasso with Woman in the Garden at the Galeries Georges Petit, June 1932 Photo © Musée national Picasso – Paris. © Succession Picasso/DACS, London 2018

86 2 Unknown photographer, Guests at the opening of Picasso’s Retrospective, June 1932. Photo © Musée national Picasso – Paris. © Succession Picasso/DACS, London 2018

Quotation: Pablo Picasso quoted in F Melgar, ‘Hoy se inaugura en Paris la gran exposición de Picasso’, Ahora, 16 June 1932, p.8

87 FAME

Retrospectives of living artists were unusual in the early 1930s. Henri Matisse’s exhibition at the Galeries Georges Petit, Paris, in 1931 had been a rare exception. To facilitate his own retrospective there in June 1932, Picasso had declined offers from The Museum of Modern Art, New York and the Venice Biennale. Unlike Matisse – and to avoid the latter’s mistake of giving too much power to his dealers – Picasso took full control of his show. When asked how he would curate his retrospective, Picasso replied provocatively: ‘badly’. Resisting attempts to provide a chronology of his artistic development, Picasso chose instead to mix up works from different periods in a dense hang, and did not provide dates of individual works. Those of 1932 were interspersed throughout as if to indicate that all his output was equally contemporary.

The frequent appearance of Marie-Thérèse Walter’s features in his recent work provided the first public clue that a new woman had entered the artist’s life. Yet pride of place in the retrospective was given to a group of paintings that celebrated Picasso’s family, with portraits of his wife and son presided over by a self-portrait from his Blue period in the early 1900s.

88 While fashionable Paris gathered at the opening, the only person missing was Picasso himself: he went to the cinema instead. If dealers had hoped Picasso’s exhibition would stimulate an art market hard-hit by the Great Depression, they were disappointed. Many of the collectors who attended the glamorous opening soon lost their fortunes to the economic and political turmoil engulfing the world. Picasso’s retrospective turned out to be the last major exhibition held at the Galeries Georges Petit, which closed in 1933.

89 Clockwise from wall text

Girl in a Chemise Jeune Femme en chemise

Oil paint on canvas c.1905

Tate. Bequeathed by C. Frank Stoop 1933 N04720

Seated Nude Femme nue assise

Oil paint on canvas 1909–10

Tate. Purchased 1949 N05904

90 Thursday 14 January 1932 Boisgeloup Sleeping Woman by a Mirror La Dormeuse au miroir

Oil paint on panel

Nahmad Collection, Monaco X59692

91 The Three Dancers Les Trois Danseuses Oil paint on canvas 1925

Surrealism was a constant preoccupation for Picasso in the late 1920s and early 1930s. Included in his retrospective, though not shown next to each other, The Three Dancers and Woman in the Garden demonstrate how this concern informed both painting and sculpture, and how Picasso’s work in two and three dimensions was in continuous dialogue.

Tate. Purchased with a special Grant-in-Aid and the Florence Fox Bequest with assistance from the Friends of the Tate Gallery and the Contemporary Art Society 1965 T00729

92 The Three Dancers Les Trois Danseuses

Oil paint on canvas1925

Purchased with a special Grant-in-Aid and the Florence Fox Bequest with assistance from the Friends of the Tate Gallery and the Contemporary Art Society 1965

T00729

Woman in the Garden La Femme au jardin

Welded iron painted white 1929–30

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP267 X64214

93 Portrait of Olga Portrait d’Olga

Oil paint on canvas 1923

Museo Picasso Málaga. Depósito del Ministerio de Cultura X62695

Self-Portrait Autoportrait

Oil paint on canvas Late 1901

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP4 X60654

94 Portrait of Paul Portrait de Paul

Oil paint on canvas 1921

Fundación Almine y Bernard Ruiz-Picasso para el Arte X62697

Child with a Toy L’Enfant au jouet

Charcoal, pastel and gouache on paper 1923

Fundación Almine y Bernard Ruiz-Picasso para el Arte. En dépôt temporaire au Museo Picasso Málaga X60640

95 Portrait of Olga in an Armchair Portrait d’Olga dans un fauteuil

Oil paint on canvas 1918

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP55 13 X60662

Paulo as a Harlequin Paulo en arlequin

Oil paint on canvas 1924

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP83 X60663

96 Central vitrine 1 Anti- clockwise left to right.

Cahiers d’Art

Founded by Christian Zervos in 1926, Cahiers d’Art was a journal, publishing house and gallery that brought together various perspectives on contemporary art. In conjunction with the Georges Petit exhibition, Zervos published a special edition dedicated to Picasso, including several articles by European and US critics.

Catalogue Raisonné

In 1932, in what was a first for a living artist, Christian Zervos launched Picasso’s catalogue raisonné, a comprehensive listing of all his works. Zervos worked on this project until his death in 1970, publishing a total of 33 volumes.

97 Christian Zervos 1889–1970

Pablo Picasso Catalogue of Works, vol 1, 1895-1906 June 1932

Archives Cahiers d’Art, Paris X70095

Christian Zervos 1889–1970

Letter to Picasso asking for the proofs of the first volume of the catalogue raisonné

14 March 1932 Graphite on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/C/177/1/4 X70083

98 Cahiers d’Art

Picasso Special Edition

June 1932 Journal

Archives Cahiers d’Art, Paris X70077

Christian Zervos 1889–1970

Letter to Picasso announcing problems with the distribution of the special edition of ‘Cahiers d’Art’ at the retrospectives in Paris and Zurich

21 September 1932 Graphite on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/C/177/1/3 X70084

99 Edouard Manet

A major retrospective of nineteenth-century painter Edouard Manet opened at the Musée de l’Orangerie in Paris two days before Picasso’s exhibition. Manet’s work made a deep impression on Picasso. On the back of an envelope he noted: ‘When I see Manet’s Déjeuner sur l’herbe I think about the pain to come. June 1932’.

Musée de l’Orangerie

Catalogue of a Manet exhibition 1932

Tate Library and Archive Z08401

100 Galerie Simon, Paris Envelope addressed to Picasso, rue La Boétie, and annotated by the artist

June 1932 Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/B/1/1 X70000

101 Picasso’s Retrospective at the Galeries Georges Petit

The Galeries Georges Petit – in the affluent 9th arrondissement of Paris – was founded in 1881. It hosted exhibitions by major artists including Gustave Courbet and Eugène Delacroix. By the end of 1920, it was owned by three of Paris’s most influential dealers: Etienne Bignou and the brothers Josse and Gaston Bernheim-Jeune. Picasso accepted Bignou’s invitation to exhibit at the gallery in 1932, partly because Henri Matisse had staged a retrospective there in 1931. His dealers may also have hoped that the prestige of the gallery would help to counteract the dampening effects of the Great Depression on the art market of the time.

Invitation to the private view of Picasso’s retrospective at the Galeries Georges Petit, Paris

1932 Printed card

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/D/72/12 X69985

102 Unknown photographer

Installation views of Picasso’s retrospective at the Galeries Georges Petit

1932 Photographs, gelatin silver print on paper

Kunsthaus Zürich, Fotosammlung © Succession Picasso/DACS, London 2018 X69909-X69924

103 Central vitrine 2 Anti- clockwise left to right.

Kunsthaus Zürich

In September 1932, Picasso’s retrospective travelled to the Kunsthaus Zürich to become his first museum exhibition. This replaced an earlier plan to show works by Picasso, Léger and Braque. His involvement was minimal. The Swiss organisers hung the works in a linear and chronological way to create a greater sense of order. The exhibition proved a success with the public, with the last Sunday alone attracting more than 2,000 visitors, prompting the Kunsthaus to extend the show by two weeks. Commercially, however, it was a failure with no sales in Paris and only one in Zurich – Guitare sur un guéridon, 1915, bought by the Kunsthaus itself.

104 Letter to Picasso from the Zürcher Kunstgesellschaft concerning the organisation of an exhibition of paintings by Braque, Léger and Picasso

23 July 1932 Ink and graphite on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/E/15/22/1 X70078

Kunsthaus Zürich

Catalogue of Picasso’s exhibition at the Kunsthaus Zürich

September 1932

Musée national Picasso – Paris. Library acquisition, BIB000398 X70093

105 Press Cuttings about Picasso’s exhibition at the Kunsthaus Zürich

September to December 1932

Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft und Kunsthaus Zürich X69995

Wilhelm Wartmann 1882–1970

Telegram to Picasso from the director of the Kunsthaus Zürich concerning the installation and opening date of his exhibition

27 August 1932

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/C/174/21/1 X69986

106 Telegram from Picasso to the Kunsthaus Zürich

16 November 1932

Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft und Kunsthaus Zürich X69998

Telegram from Picasso to the Kunsthaus Zürich

10 October 1932

Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft und Kunsthaus Zürich X69996

107 Telegram from Picasso to the Kunsthaus Zürich, asking for payment for the work purchased at the retrospective

6 December 1932

Kunsthaus Zürich, Archiv Zürcher Kunstgesellschaft und Kunsthaus Zürich X69999

108 Mixing Up the Chronology

Picasso selected works for the retrospective from his entire career. The mixture of styles and dates shows his determination for his work and life not to be carved up into successive periods, but to be read as different facets of his singular personality. Picasso hung his works densely, sometimes against fabric, mirroring the style of nineteenth- century exhibitions shown at the gallery. He removed all information on dates. In so doing, he suggested that works from different periods were of equal importance and value, despite the dominance of his early work in the saleroom. In his most recent paintings, for the first time the as-yet unidentified figure of Marie-Thérèse Walter appeared repeatedly. 12

A Wall of Family Portraits

Picasso gave pride of place to a series of neoclassical portraits of his wife Olga and son Paulo. Painted a decade earlier, these alluded to the period when the couple had been at their happiest. They, as much as the exhibition as a whole, were presided over by an early self-portrait from Picasso’s Blue period, as if his younger self were surveying the now fifty-year-old artist’s struggle to reinvent himself.

109 Thérèse Bonney Installation view of Picasso’s retrospective at the Galeries Georges Petit

1932 Photograph, gelatin silver print on paper

Catalogue of the Picasso exhibition at the Galeries Georges Petit 1932

Tate Library and Archive Z08644

110 Unknown photographer

Picasso with ‘Rest’ in his retrospective at the Galeries Georges Petit

1932 Photograph, gelatin silver print on cardboard

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6634 © Succession Picasso /DACS, London 2018 X69784

Unknown photographer

Picasso with ‘Rest’ in his retrospective at the Galeries Georges Petit

1932 Photograph, gelatin silver print on cardboard

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6634 © Succession Picasso/DACS, London 2018 X69784

111 Unknown photographer

Picasso with ‘Woman in the Garden’ in his retrospective at the Galeries Georges Petit

1932 Photograph, gelatin silver print on cardboard

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. APPH6652 © Succession Picasso/DACS, London 2018 X69984

112 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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113 ‘When we love a woman we don’t start measuring her limbs. We love with our desires – although everything has been done to try and apply a canon even to love.’

Pablo Picasso

115 2 Brassaï, photograph of Cock in Picasso’s sculpture studio, Boisgeloup, 1932 © RMN Grand Palais (Musée national Picasso – Paris)/Daniel Arnaudet. © Succession Picasso/DACS, London 2018. © Estate Brassaï

116 3 Invoice for painting materials for Picasso from Castelucho Diana © RMN Grand Palais (Musée national Picasso – Paris)

Quotation: Pablo Picasso quoted in D Ashton (ed.), Picasso on Art: Selection of Views, 1972, p.11

117 JULY AND AUGUST

As soon as his retrospective opened, Picasso bulk-bought canvases and retreated to Boisgeloup for the summer. Freed from the weight of critical expectation, his painting style became faster and more fluid, with smaller works exploring new themes.

Picasso’s Reclining Nudes of late June and July picked up where he had left off before the retrospective. Transformation, with one thing turning into another, remained central to his imagination. With their extremities turned into pointy flippers, the small nudes suggest the similarities between women and sea creatures, perhaps inspired by Marie-Thérèse Walter’s prowess as a swimmer. (Though he had grown up by the sea, and though he planned to install a swimming pool at Boisgeloup, Picasso could not swim.)

Nude Woman in a Red Armchair is one of the few large- scale paintings of the summer. Here Picasso returned to his preferred subject matter of early 1932, without preparatory drawing and with his paint and line flowing more sensually than ever, and the woman, unusually for this subject, being naked. An X-ray of the painting reveals that it was almost certainly executed in a single fast-paced session.

118 Clockwise from wall text

Saturday 18 June 1932 Boisgeloup

Woman Sleeping on a Red Cushion Dormeuse au coussin rouge

Oil paint on canvas

Private collection X59932

Sunday 19 June 1932 Boisgeloup

Reclining Nude Femme couchée

Oil paint on canvas

Centre Pompidou, Paris. Musée national d’art moderne / Centre de création industrielle. Donation Louise et Michel Leiris, 1984 14 X60267

119 Sunday 19 June 1932 Boisgeloup

Reclining Nude Nu couché

Oil paint on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1070 X59474

Sunday 26 June 1932 Boisgeloup

Reclining Nude Femme couchée

Oil paint on lid of cardboard box

Centre Pompidou, Paris. Musée national d’art moderne / Centre de création industrielle. Donation Louise et Michel Leiris, 1984 X60273

120 Sunday 26 June 1932 Boisgeloup

Nude in front of a Mirror

Femme étendue les bras sous la nuque sur un lit rouge Oil paint on canvas

Private collection X59937

Sunday 26 June 1932 Boisgeloup

Nude before a Mirror Nu devant la glace

Oil paint on canvas

Bettina and Donald L. Bryant, Jr X59935

121 Wednesday 27 July 1932 Boisgeloup

Nude Woman in a Red Armchair Femme nue dans un fauteuil rouge

Oil paint on canvas

It was not until 1958 that the British artist and historian Roland Penrose mentioned Marie-Thérèse Walter publicly in his biography of Picasso, describing her as though ‘controlled by the influence of the moon or by some even less calculable force’. The sitter’s face incorporating both frontal and portrait views can be understood as either a metaphor for Walter’s character or for her intimate union with Picasso. Recent analysis suggests that Picasso painted the charcoal pigments straight onto the canvas without any preparatory drawing.

X-ray © Tate, 2018

Tate. Purchased 1953 15 N06205

122 123 1932 Boisgeloup

Swimmer Nageuse

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X60091

Thursday 18 August 1932 Boisgeloup

Sleep La Sieste

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte. En dépôt temporaire au Museo Picasso Málaga X59990

124 Central Sculpture

1932 cast 1952

Cock Coq

Bronze

Picasso was an animal-lover and was pleased that Boisgeloup enabled him to keep a small menagerie. He had made sculpture there throughout 1931 – usually on the theme of the female figure – but the Cock is a rare example from 1932. The original plaster, too fragile to travel, was cast in bronze in 1952. It shares certain formal attributes with the Reclining Nudes, not least in its delight in sweeping curves and the suggestion of metamorphosis. Seen at an angle, the empty space beneath the tail feathers forms a profile, similar to that in Nude Woman in a Red Armchair.

Tate. Purchased 1953 N06023

125 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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126 ‘The essential image of Picasso is traced by his drawing’

Christian Zervos

Quotation: Christian Zervos, ‘Importance du dessin de Picasso’ in Dessins de Pablo Picasso, Editions Cahiers d’Art, 1949, p. 9

127 BLACK ON WHITE

Throughout 1932, Picasso produced a number of charcoal drawings on canvas. Though most would not appear in the catalogue raisonné being compiled by Zervos, they are not studies, but finished works in their own right. They often relate to paintings on similar themes albeit with a focus on line and form rather than colour. Rubbings, erasures and over-drawing make visible the process of image construction.

Drawing was central to Picasso’s imagination. As much is demonstrated by his complex line drawings as well as his sketchbooks. Here he often elaborated on a particular theme, such as the artist in his studio, by making a series of drawings in quick succession. These drawings were conceptual exercises rather than preparatory studies and rarely translated into paintings.

Picasso’s sketchbooks show the same disdain for chronology as did his retrospective exhibition. On 25 January 1932, for example, he dated the first page of sketchbook number 40 as Paris, 25 January 1932, but then abandoned it until the last weeks of the year. Similarly in April 1932 he picked up another sketchbook, number 17, which he had begun in January 1930.

128 Clockwise from wall text

Tuesday 2 February 1932

Study for a Mandolin Player Etude pour une joueuse de mandoline

Charcoal and oil paint on canvas

Private collection X63999

April 1932

Woman with a Flower Femme à la fleur

Charcoal on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63831

129 April 1932 Boisgeloup

Woman with Flower Writing Femme à la fleur écrivant

Charcoal on canvas

Private collection X63687

Thursday 21 July 1932 Boisgeloup

Flute Player and Three Female Nudes Flûtiste et trois femmes nues

Drypoint on paper

Musée national – Picasso, Paris. Dation Pablo Picasso, 1979. MP2481 X59578

130 1931–2 Boisgeloup

Eye Oeil

Plaster

Private collection X68329

Saturday 30 July 1932 Boisgeloup

Sleeping Nude Nu endormi

Charcoal on gessoed canvas

Private collection, courtesy Gagosian Gallery X60096

131 1932

Sleeping Woman Femme nue couchée

Charcoal on canvas

Private collection 16 X60083

Tuesday 15 November 1932 Paris

Marie-Thérèse in a Pensive Mood Marie-Thérèse pensive

Oil paint on wood

Private collection X60084

132 Central vitrine Anti-clockwise, left to right

1932

The Embrace L’Etreinte

Charcoal on silk paper

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63822

Sketchbook 1932 Ink on paper

Fundación Almine y Bernard Ruiz-Picasso para el Arte X63840

133 Sketchbooks

In addition to the small notebooks Picasso carried with him, the artist also made drawings in larger sketchbooks, kept in his studio. These were not so much preparatory sketches for paintings but a way for Picasso to develop ideas. Some of the sketches were drawn after a painting was completed and had left the artist’s studio for exhibition, so that Picasso had a visual record. He kept most of his sketchbooks intact, only occasionally taking out a page to show as a single drawing.

1932 Boisgeloup

Hand Main

Plaster

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP323 X64291

134 Pablo Picasso

Sketchbook no. 40 1932 Book, black ink and graphite on paper

Musée national Picasso – Paris. Dation Jacqueline Picasso, 1990. MP1990-110 X64854

135 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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136 ‘I cling to resemblance, to a deeper resemblance, more real than the real, attaining the surreal. That is how I understood surrealism, but the word was used in a completely different way.’

Pablo Picasso

137 1 Unknown photographer, Pablo, Olga and Paulo Picasso with his governess on a café terrace, Pourville, Normandy, August 1932 Photo © RMN Grand Palais (Musée national Picasso – Paris)/ image RMN-GP

139 3 Matthias Gothart Nithart, known as Grünewald, Isenheim Altarpiece, c.1512–16, Unterlinden Museum, Colmar, Alsace © Unterlinden Museum, Colmar

Quotations: Pablo Picasso quoted in Brassaï, Conversations with Picasso, 1999, pp.36 and 33

140 SEPTEMBER AND OCTOBER

As summer drew to a close, Picasso’s work filled with beach scenes. Yet the artist himself, apart from a brief family excursion to the seaside in Normandy, spent most of the summer with family and friends in Boisgeloup. Marie- Thérèse Walter holidayed separately in the south of France.

In early September Picasso left for Zurich to visit what was his first major museum exhibition. On his return he began work on an extraordinary series of drawings on the subject of the Crucifixion. In particular, he was inspired by Matthias Grünewald’s Isenheim Altarpiece. Despite suggestions that he had gone to see the painting on his way back from Zurich, it is unlikely that he actually did so. Arcadian scenes of reclining nudes and flute players interspersed his darker representations of Christ’s suffering.

Picasso continued to engage with classical themes, both secular and religious. And, if Matisse had been his sparring partner in the first part of the year, he now competed with surrealism. He was sceptical of group membership of any kind and disliked the theoretical framing of art, preferring instead to trust intuition and process. Yet he was happy for his work to be reproduced and discussed at length by the surrealist poet and provocateur André Breton, in the first issue of the magazine Minotaure.

141 Anti-clockwise from wall text

Thursday 13 October and Thursday 17 November 1932 Boisgeloup

The Clarinet Player Le Joueur de clarinette

Ink and wash on paper

Nahmad Collection, Monaco X61800

Sunday 9 October 1932 Boisgeloup

Reclining Woman and Flute Player Femme allongée, joueur de flûte

Graphite on paper

Private collection X60039

142 Saturday 8 October 1932 Boisgeloup

Flute Player and Reclining Nude Joueur de flûte et nu allongé

Graphite on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1084 X59484

Tuesday 4 October 1932 Boisgeloup

Flute Player and Seated Nude Deux femmes nues dont l’une jouant de la diaule

Oil paint and ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1077 X59630

143 Thursday 1 September 1932 Boisgeloup

Flute Player and Reclining Nude Joueur de flûte et nu couché

Ink, gouache and oil paint on paper Private collection

Flute Player and Reclining Nude Joueuse de flûte et femme allongée

Oil paint and ink on paper Private collection

X63677, X60013

144 Friday 21 October 1932 Paris

The Crucifixion La Crucifixion

Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1085 X59634

Friday 7 October 1932 Boisgeloup

The Crucifixion: Studies of Details La Crucifixion. Etude de détails

The Crucifixion La Crucifixion

Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1083, MP1081, MP1082, MP1080 X59638, X59635, X59637, X59636

145 Tuesday 4 October 1932 Boisgeloup

The Crucifixion La Crucifixion

Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1079 X59632

Tuesday 4 October 1932 Boisgeloup

The Crucifixion La Crucifixion

Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1078 X59633

146 Monday 19 September 1932 Boisgeloup

The Crucifixion La Crucifixion

Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1076, MP1074, MP1075 X59629, X59592, X59593 17

Saturday 17 September 1932 Boisgeloup

The Crucifixion La Crucifixion

Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP1073, MP1071, MP1072 X59589, X59590, X59591

147 Thursday 15 September 1932 Boisgeloup

Composition with Butterfly Composition au papillon

Cloth, wood, plants, string, bug, butterfly and oil paint on canvas

Musée national Picasso – Paris. Achat 1982. MP1982-169 X60004 18

Thursday 15 September 1932 Boisgeloup

The Three Bathers Les Trois Baigneuses

Oil paint on canvas

Nahmad Collection, Monaco X61799

148 Thursday 15 September 1932 Boisgeloup

Three Women Playing on the Seashore Trois Femmes jouant au bord de la mer

Oil paint on canvas

Fundación Almine y Bernard Ruiz-Picasso para el Arte X60028

Bather Baigneuse

Plaster 1931

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP303 X64298

149 Tuesday 6 September 1932 Boisgeloup

Swimmers with a Beach Ball Baigneuses au ballon

Oil paint on canvas

Private collection X60086

Ball Players on the Beach Joueuses de ballon sur la plage

Oil paint on canvas

Private collection X60019

150 Tuesday 6 September 1932 Boisgeloup

Women Playing with a Ball on the Beach Femmes jouant au ballon sur la plage

Oil paint on canvas Private collection X63684

Sunday 4 September 1932 Boisgeloup

Two Women on the Beach with Swimming Cabin Deux femmes sur la plage, avec cabine de bain

Oil paint on canvas

Private collection X60087

151 In vitrine, left to right

Minotaure

Founded by Eugène Tériade and Swiss publisher Albert Skira, Minotaure was a magazine mostly for surrealist artists and poets. It was published in a limited edition to attract a niche intellectual audience. The first edition – dedicated almost entirely to Picasso – featured a cover by Picasso, Brassaï’s photographs of the sculpture studio in Boisgeloup, and a positive article, ‘Picasso in his Element’, by writer, poet and leading surrealist, André Breton.

Minotaure, no. 1

1933 Journal

Tate Library and Archive Z03220

152 Minotaure

1933 Facsimile

Tate Library and Archive Z08334

André Breton 1896–1966

‘Picasso in his Element’: Draft Manuscript for the first issue of ‘Minotaure’

1932 Ink on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1992. 515AP/C/18/1/2 X70096

153 Unknown photographer Paulo and Pablo Picasso, Normandy

1932 Photograph, gelatin silver print on paper

Unknown photographer Pablo and Olga Picasso, Normandy

1932 Photograph, gelatin silver print on paper

154 Carl Gustav Jung

On the last day of Picasso’s retrospective in Zurich, the Swiss psychoanalyst and psychiatrist Carl Gustav Jung published a scathing review of the exhibition, criticising the variety of styles on display and implying that Picasso was schizophrenic because his ‘pictures immediately reveal their alienation from feeling’. Jung’s article was subsequently reprinted in Cahiers d’Art where it was accompanied by a passionate defence of Picasso’s work by Christian Zervos.

155 Cahiers d’Art nos. 8–10

Zervos responds to Jung’s text 1932 Journal

Archives Cahiers d’Art, Paris X70097

156 Zurich

Picasso, his wife and son travelled to Zurich in the artist’s chauffeur-driven Hispano-Suiza. They were welcomed by friends of Wilhelm Wartmann, director of the Kunsthaus, with whom they spent the day sightseeing. As in Paris in June, Picasso did not attend the opening of his exhibition. Instead, the family left a day early to return to Boisgeloup via the Swiss mountains.

157 Unknown photographer Pablo and Paulo Picasso outside Strasbourg Cathedral

7 September 1932 Photograph, gelatin silver print on paper

158 Unknown photographer Pablo and Paulo Picasso on the balcony of the hotel Les Trois Rois, Basel

8 September 1932 Photograph, gelatin silver print on paper

Unknown photographer Paulo and Pablo Picasso with Adolf Jöhr, President of the Zürcher Kunstgesellschaft

9 September 1932 Photograph, gelatin silver print on paper

159 Unknown photographer Olga, Paulo and Pablo Picasso outside Strasbourg Cathedral

7 September 1932 Photograph, gelatin silver print on paper

Unknown photographer Paulo and Olga Picasso on the balcony of the hotel Les Trois Rois, Basel

8 September 1932 Photograph, gelatin silver print on paper

160 Unknown photographer Paulo and Olga Picasso standing in front of a Swiss glacier

Between 11 and 13 September 1932 Photograph, gelatin silver print on paper

161 THE EY EXHIBITION: PICASSO 1932 LOVE FAME TRAGEDY

8 March – 9 September

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162 ‘I will never make art with the preconceived idea of serving the interests of the political, religious or military art of a country.’

Pablo Picasso

163 Man Ray, Portrait of Picasso, November 1932 Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais/Georges Meguerditchian. © Man Ray Trust/ADAGP, Paris and DACS, London 2018

Quotation: Pablo Picasso cited in MC FitzGerald, ‘Post 1932: From the Paris and Zurich Retrospectives to “Guernica”’, in T Bezzola (ed.), Picasso: His First Museum Exhibition 1932, exh. cat., Kunsthaus Zürich, Zurich 2010, pp.133–53, p.135

164 NOVEMBER AND DECEMBER

Towards the end of the year, Picasso turned to a new and darker subject matter: the threat of drowning, and the possibility of rescue. The impetus may have been Marie- Thérèse Walter who, while swimming in the sewage- contaminated river Marne, contracted a serious viral infection. Some biographers have argued that, since the childhood death of his younger sister from diphtheria, Picasso felt doomed to cause women to suffer. This is suggested by some of the works on paper in which fatal accident is transformed into sexual violence.

In the final paintings of the year, colour detaches from line or is reduced to shades of grey. The proliferation of works on paper, especially prints in multiple stages to which he turned in the latter months of the year, indicates Picasso’s pleasure in experiment. The different subjects and rapidly changing styles suggest a growing restlessness. The carefully constructed balance which had made 1932 Picasso’s ‘year of wonders’ was coming to an end.

165 Clockwise from wall text

Sunday 20 November 1932 Paris

The Rescue Le Sauvetage

Oil paint on canvas

Grace, Sean, Lauren, and David Carpenter X69080

Sunday 20 November 1932 Paris

The Rescue Le Sauvetage

Oil paint on canvas

Fondation Beyeler, Riehen/Basel, Sammlung Beyeler X59660 19

166 Monday 21 November 1932 Paris

The Rape Le Viol

Etching on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP2204 X59646

Saturday 17 December 1932 Paris

The Rescue of the Drowned Woman I Le Sauvetage de la noyée I

Etching on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP2226 X59936

167 Sunday 18 December 1932 Paris

The Rescue of the Drowned Woman II, III Le Sauvetage de la noyée II, III

Etching on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP2232, MP2238 X59964, X59979

Wednesday 21 December 1932

Sleeping Nude with Blonde Hair Femme couchée à la mêche blonde

Oil paint on canvas

Nahmad Collection, Monaco X61801

168 ‘Everything we love is about to die, and that is why everything we love must be summed up, with all the high emotion of farewell, in something so beautiful we shall never forget it.’

Michel Leiris

169 In 1935, Marie-Thérèse Walter became pregnant by Picasso. The birth of their daughter Maya marked the end of his marriage to Olga Picasso. Though they never divorced, she moved immediately to the south of France, taking their son with her. Picasso described this as the worst period of his life. The political and economic situation in Europe also deteriorated. Hitler was appointed German Chancellor in January 1933, Mussolini had consolidated a fascist dictatorship in Italy, and Spain became engulfed in civil war which ended with the defeat in 1939 of the Republican cause with which Picasso sympathised. Six months later, the world was once again at war.

The Rescue, painted in the first days of 1933, foreshadows the agony of the mother and child in Picasso’s emblematic anti-war painting, Guernica (1937). By then, Picasso’s world as it had been in 1932 was lost forever.

170 The Rescue Le Sauvetage

Oil paint on canvas Wednesday 11 January 1933, Paris

Fondation Jean et Suzanne Planque, en dépôt au Musée Granet (Aix-en-Provence) X63993

171 Thursday 22 December 1932 Paris

The Rescue Le Sauvetage Oil paint on canvas

Private collection X60052

Tuesday 29 November 1932

The Diver La Plongeuse

Etching on paper

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP2247, MP2249, MP2250 X59775, X59829, X59830

172 Sunday 4 December 1932 Paris

Bathers with Beach Ball Baigneuses au ballon Oil paint on canvas

Musée national Picasso – Paris. Dation Pablo Picasso, 1979. MP143 X59933 20

Sunday 4 December 1932 Paris

Women Playing with a Ball on the Beach Femmes jouant à la balle sur la plage Oil paint on canvas

Private collection X64013

173 CREDITS

174 THE EY EXHIBITION The EY Tate Arts Partnership PICASSO 1932 LOVE FAME TRAGEDY

THE EYAL OFER GALLERIES, TATE MODERN

7 MARCH – 9 SEPTEMBER 2018

Curated by Achim Borchardt-Hume, Director of Exhibitions and Programme, Tate Modern and Nancy Ireson, Curator, International Art, Tate Modern Assisted by Juliette Rizzi and Laura Bruni, Assistant Curators, Tate Modern

Curated at Musée national Picasso-Paris by Laurence Madeline with Virginie Perdrisot-Cassan, Curator of Sculpture and Ceramics, Musée national Picasso-Paris

Exhibition organised by Tate Modern in collaboration with the Musée national Picasso-Paris

175 With additional support from the Picasso Exhibition Supporters Circle: Acquavella Galleries Inc. Batia and Idan Ofer Lydia and Manfred Gorvy Mr Giancarlo Giammetti The Mead Family Foundation Thomas Gibson Fine Art Advisory Services Clore Wyndham

Tate Americas Foundation, Tate International Council, Tate Patrons and Tate Members

Media partner

Graphic design by Why Not Associates

Exhibition guide design by Tate Design Studio

176 To explore more art from around 1932 and other works by Pablo Picasso, visit the free displays in the Boiler House at Tate Modern.

LEVEL 4, MEDIA NETWORKS You can find a work by Picasso in Modern Times.

LEVEL 2, IN THE STUDIO Studio Practice features Picasso and contemporaries including Henri Matisse and Georges Braque.

International Surrealism shows work by artists such as Alberto Giacometti, Paul Klee, René Magritte, Joan Miró, Henry Moore and Yves Tanguy.

This exhibition has been made possible by the provision of insurance through the Government Indemnity Scheme. Tate would like to thank HM Government for providing Government Indemnity and the Department for Digital, Culture, Media and Sport and Arts Council England for arranging the indemnity.

177 CATALOGUE Available from Tate shops or at tate.org.uk/shop

PODCAST 1932 was an extraordinary year for Picasso. What drives such periods of creativity? Artists, musicians and writers respond. Listen for free at tate.org.uk/podcasts or download from iTunes and Acast

Large print texts are available in the exhibition and on the exhibition pages of tate.org.uk

EVENTS Visit tate.org.uk or call 020 7887 8888 for more information and to book

CURATOR’S TALKS AND PRIVATE VIEW The EY Exhibition: Picasso 1932 Achim Borchardt-Hume Monday 16 April 2018 and Sunday 13 May 2018 18.30–20.30 The Eyal Ofer Galleries

£29 Let us know what you think #Picasso1932

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