Pablo Picasso’S Painting, Drawing, Collage, Sculp- T O Ture, and Prints in Moma’S Collection in Dialogue with Some of the Artist’S Key Works in E D

Home , Girl before a Mirror, Guernica (Picasso), Las Meninas (Picasso), Museu Picasso

ARTIST’S WORK/ARTIST’S VOICE: PICASSO A Guide for Educators

Department of Education at The Museum of Modern Art TABLE OF CONTENTS

1. A NOTE TO EDUCATORS

2. USING THE EDUCATORS GUIDE

3. SETTING THE SCENE

4. LESSONS Lesson One: Self-Portrait of the Artist

Lesson Two: The Artist at Work

Lesson Three: Portraiture

Lesson Four: Painting Modern Life

Lesson Five: Art and War

Lesson Six: Innovations in Media

27. FOR FURTHER CONSIDERATION

28. GLOSSARY

29. SELECTED BIBLIOGRAPHY AND RESOURCES

32. MoMA SCHOOL PROGRAMS

The series Artist’s Work/Artist’s Voice is devoted to artists in the Museum’s collection. Rather 1 than exhaustive monographs, these guides consider key examples of an artist’s work in rela- A

tion to his or her social and cultural context. Written in collaboration with Fundación Arte N O

Viva Europa and with the cooperation of museums and cultural organizations in Spain, T E

Artist’s Work/Artist’s Voice: Picasso features Pablo Picasso’s painting, drawing, collage, sculp- T O ture, and prints in MoMA’s collection in dialogue with some of the artist’s key works in E D

Spanish institutions. U C A

The goal of this guide is to introduce students to the work of Picasso, one of the twentieth T O century's most prominent artists. Spanning the late nineteenth century to the second half of R S the twentieth century, Picasso’s work provides a rich opportunity to explore artistic identity, visual expression, and social response. Through guided discussions and supplemental activities, students will be able to draw parallels between their own ideas and experiences and those of Picasso’s. The guide’s purpose is not just to explicate works of art, but also to demonstrate how images and historical information can be integrated into numerous subject areas and skill bases taught in the classroom. The guide is informed by issues posed by the selected works, but its organization and lesson topics are created with the school curriculum in mind, with particular application tosocial studies, visual art, history, and language arts. Lessons are accompanied by writing, research, and, art-making activities that encourage students to make connections between the visual arts and other disciplines. By comparing a variety of mediums and styles, students will be able to practice observation, articulation, and discussion skills, and further develop their visual literacy. USING THE EDUCATORS GUIDE

The six lessons that comprise this guide—Self-Portrait of the Artist,The Artist at Work, 2 Portraiture, Painting Modern Life, Art and War, and Innovations in Media—may be used U S

I sequentially or as independent units. An introduction to the key principles of each lesson is N

G followed by a close examination of the works, including, historical context and information T H on the artist. Discussion questions based on the images lead students through formal analy- E

E sis of the artworks and seek to create connections between information and visual evidence. D U

C The activities that conclude each lesson encourage students to synthesize what they have A

T learned about the works, and carry the lessons into the broader curriculum or relate it to O

R skills students are practicing in the classroom. S G U I D E IMAGES All of the questions, discussions, and activities in this guide are based on the accompany- ing CD-ROM. Please examine the images carefully before showing them to your students. Your classroom should be equipped with a computer and LCD projector. You may also print images from the CD-ROM to transparency paper for overhead projection.

ACTIVITIES The Activities sections encourage students to make connections between their own experiences and the concepts presented in the lessons. Through these activities, students will begin to develop a language for discussing and looking at art. Feel free to tailor the activities to the skill level of your students.

RESEARCH PROJECTS The materials in this guide provide opportunities for in-depth research on specific artists or artistic movements. We have suggested some topics, to which we encourage you to add your own.

FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES Additional discussion questions and research projects are included in this section. A bibliography and resources section has also been provided for teachers and students to use in conducting research. The resources recommended in these pages provide further information on the artists and artworks in this guide, general historical topics, and additional classroom activities.

GLOSSARY A glossary of art historical terms (bolded upon first mention in each lesson) is included at the end of the guide. 3 SETTING THE SCENE . ent ideas Herschel B.Herschel (Berkeley, Chipp . 1 esent moment. Have them mount their Students may prefer to compile their writing Students may prefer . ession to communicate differ der ee—to the pr 2 presentation of their work,presentation discussing how their interests a e onological or Theories of and CriticsArtists by A Sourcebook Art: Modern in chr rent methods ofrent expression. d e diff e uir q e r y l itab v ation the spirit of research. express, something to found I have When it done I have aw—perhaps at the age of two or thr r The several manners I have used in my art must not be considered as an evolution, art be not my must considered used in I have manners The several as or means that he has changed his manner of his manner means that he has changed thinking, and in changing, it might the be for it might the worse. or better be for from several years into a portfolio or journal. into a portfolio or years several from works on a poster boar Ask your students to each mak Ask your students to each create a small retrospective exhibition of their own work. a small retrospective Ask your students to each create Have learned how to when they first from them select examples of their paintings or drawings dr without thinking of of or the past the future. used radically different I have not believe I do used in painting[. I have manners in the different elements . . I had something Whenever .] it ought be felt said. to say,to in which I have said it in the manner I have motives Different ine steps toward an unknown ideal of an unknown ideal toward steps painting. the present for was made made ever All I have in the present.and with remain that it will the hope always consid- into taken never I have e two works of art. to the with respect statement Ask your students to comment on Picasso’s the statement,Ask them to consider the final sentence of their own and give examples from experience of modifying their method of expr Show your students any two works of art from this guide,from Show your students any two works of art out loud the following and read statement by Picasso: at the time impacted the subject of their works of art or the manner in which they made at the time impacted the subject of their works of art or the manner in which they them. own statement they may want to consider Picasso’s In formulating their presentation about changes or variations in his style: Variation does not mean evolution.Variation If an artist varies of his mode this only expression Ibid, 265. Pablo Picasso,Pablo Statement (1923), in ETTING THE SCENE ETTING Los Angeles, Los and London: of University Press, California 1968), 265. 2. 1. • • 2. A RETROSPECTIVE EXHIBITION ofOne way of learning career about the an artist work her look in his or at the changes is to the onset offrom art creating the very of to end careers. her his or organize often Museums exhibitions,retrospective a consider- an artist by over produced works which bring together able period of time. • When looking at examples of looking at examples When various career, in his long points from work Picasso’s which nineteenthspans the late half century the second to of the twentieth, of one notewor- the most his style. significantly changed modified and even he continually characteristics is the way thy • 1. A SENSE OF STYLE S " 8 ⁄ 3 41 x " 4 ⁄ 1 f Art, Modern um o use he M T Pablo Picasso.Pablo Spanish, 1881–1973. Late 1915.Late canvas, Oil on 6' 05.1 cm). 83.5 x 1 IMAGE THREE: Harlequin. (1 New York. Acquired through the Lillie through P.BlissYork. Acquired New Bequest. of © 2006 Estate Picasso/Artists Pablo Rights Society (ARS),York New " 16 ⁄ 9 3 x 16 ⁄ 15 " 2 ⁄ 1 10 x 2 ⁄ 1 . 1904. Late Water- . paper, wove on Pencil 1917. 1 of Rights Picasso/Artists Pablo Pablo Picasso.Pablo Spanish, 1881–1973. Pablo Picasso.Pablo Spanish, 1881–1973. e York. Bequest. Smith Reinhardt Louise w 2006 Estat e ESSONS MAGE ONE: color and pen and ink on paper, and pen and ink on color 14 (36.9 x 26.7 cm). of The Museum Art, Modern N © IMAGE TWO: (Contemplation) Meditation I Eyes The Artist’s (5 x 9 cm). Picasso Màlaga, Museo Spain. © 2006 ofEstate Rights Society (ARS), Picasso/Artists Pablo York.New Photo: Rafael Lobato Society (ARS),York New L of the Artist Self-Portrait LESSON ONE:

4 LESSONS INTRODUCTION Traditionally, artists have created portraits of themselves over the course of their careers. Not only a means of representing one’s physical attributes, self-portraiture can also serve to announce one’s vocation as an artist, one’s place in society, or one’s style. While Picasso’s work is intimately tied to his personal experience, he created very few direct likenesses. However, he did symbolically portray himself in numerous guises, including harlequins and Minotaurs, that indicate how he perceived his role as an artist and its relationship to society. This lesson explores some of Picasso’s direct self-portraits and symbolic, or disguised, self-portraits.

LESSON OBJECTIVES 5 • Students will be introduced to the genre and elements of self-portraiture. L E S S • Students will consider Picasso’s use of this genre to convey particular ideas about his role as O N an artist and the role of an artist in society. S

INTRODUCTORY DISCUSSION • Begin the discussion by asking your students to define “portrait” and “self-portrait.” Have they ever had a portrait taken? Have they ever created a self-portrait? Ask your students to think about the choices they can make in how they are represented in a portrait and how they are represented in a self-portrait. Ask them which genre they think might reveal most about them.

• Show your students The Artist’s Eyes. Ask them to consider how Picasso made this drawing. What can they discern about his working method? Point out that he used many lines to depict his eyes, his eyebrows, and the bridge of his nose. In some areas it appears that he erased his work and shifted lines while attempting to represent his eyes as reflected in a mirror. Picasso chose to focus on his eyes in this image. Ask your students what they can discern about him as a person from his eyes.

• Direct your students to make a self-portrait in a similar manner. Tell them that they may choose to focus on a part of their face that is expressive. Give each student a small mirror and a pencil and paper to create their self-portrait. Ask them to create their likeness based on what they see in the mirror.

• When they are finished with their drawings, ask your students to share their experience with the class.

IMAGE-BASED DISCUSSION • Give your students a few minutes to look at Meditation (Contemplation). Ask them what they think is going on in this drawing. Ask them to describe the characters, setting, and mood. Ask them to imagine a story that includes these characters.

Meditation (Contemplation) was created in late 1904, when Picasso was twenty-three years old and had recently settled in Paris after a period of moving back and forth between France and Spain. He had also recently embarked on a love affair with Fernande Olivier.At this time, Picasso painted almost exclusively at night, while Olivier slept. His own upright conscious meditation on his lover contrasts with her slumbering dream state. The 3 4 shape with as he contem- , self- two e . S, William Rubin, ed. ectangular zone profile The r . epresent himself as a epresent black paddlelik The Artist’s Eyes A resentation ofresentation the artist. Picasso . to p e and what it might mean for an without mentioning the title of the olic r mb Harlequin is a sy opped onto a black surface . S. William Rubin, ed.York: of (New The Museum Art, Modern 1980), 179. lequin , which delineates his legs and torso. Picasso and Portraiture: Representation and Transformation and Representation Picasso and Portraiture: ar H Meditation (Contemplation) Picasso, f the harlequin had the capacity to become invisible,the harlequin had the capacity become to part any to travel to , Pablo Picasso:A Retrospective Pablo ness o Eva becomes more and more ill day. each and more more becomes the hospital and spend most Eva to I go e l. l ed paper cutouts have been dr ostume c is he Ask them why they think he chose the harlequin, e lif y single eye and grinning mouth makes up the head that peers out of the harlequin’s trade- out of the harlequin’s up the head that peers single eye and grinning mouth makes erned ortraits by Picasso.ortraits himself in each represented upon how Picasso reflect Ask them to mage. they think he made. Ask them what choices hile not a lik to the right, with white brushstrokes, only partially covered is suggestive of a palette, uniting clown and artist. p i a mark diamond-patterned costume Ask them to describe how they think Picasso went about making this painting. Students should consider the shapes, and brushwork that he used. colors as if It might look at first multicolor Ask your students to consider why Picasso might have chosen to r Ask your students to consider why Picasso Ask your students to identify the human form in this image Ask your students to identify the human clown. himself as a clown. artist to portray Give your students a few minutes to look at Give your students a few minutes to look Ask your students to compare compare Ask your students to work. they see. Ask them to describe what Ask them what they think the painting represents. of [subway]. the time in the Métro . . . However, of a picture made I have that, a Harlequin of way my to that of thinking and to others, many done. ever is the best thing I have M Pablo Picasso,Pablo in quoted See Kirk Varnedoe,“Picasso’s Self-Portraits,”in Varnedoe,“Picasso’s See Kirk • of when many in 1915, in Paris was painted World This work fighting friends in were Picasso’s I.War a Spanish citizen, As serve. to Picasso was not required girlfriend His at the time, Eva Gouel, was dying of tuberculosis. friend, to a letter In patron,Picasso wrote: and writer Gertrude Stein, • may be said to inhabit this painting without reference to his actual physical appearance. his actual physical to this painting inhabit without be reference said to may of the world, forms—gifts other on take and to the god Mercury. upon him by bestowed a As theatrical character, a clown, the harlequin is usually and parodying the more making jokes serious characters. • W plates Olivier.plates Olivier lies in bed, head. with her arm raised one above head, Her which rests a pillow,on Picasso. is turned toward • theater, Renaissance Italian mythology as well as from Roman from harlequin is a character dell'arte.known as commedia in a mask and multicolored, presented diamond- Traditionally patt • in draftsmanship (in looking at and recording interest the artist’s drawing the reveals While his appearance), Olivier while Picasso watched created was most likely watercolor the fluid his memory from ofsleep or moment. the the drawing, In at a table, Picasso is seated legs crossed, his knee, on elbow hand. his on resting chin his head is in His Artists’ self-portraits set in their studio, often are of items and include their profession— brushes, palette, easel—that what the artist does, communicate help to the seriousness of the trade,artist’s looks like. work and what the artist’s highlight not to chose Picasso his Here it: ratherskill a that is essential to but profession of that observation. and intense prolonged 4. 3. (New York: of(New The Museum Art, Modern 1996), 111.

6 LESSONS 7 LESSONS , considering . to Direct them Harlequin alter ego alter specific mood for this work? specific mood Ask your students to respond to Picasso’s statement in relation to statement in relation to Picasso’s to respond Ask your students not only the subject of the painting but also the manner in which it was executed. in which it was but also the manner subject of the painting not only the Ask of this painting. to consider the mood your students use color to create How did Picasso a CTIVITY A of the character Picasso selected of as a way Harlequin of side another communicating himself, or he felt rather embodies but how a likeness that is not physically self—one a second imagined himself. up with their own come to students your Ask • paint a portrait or write a short autobiography about themselves as their alter ego. as their alter paint a portrait about write themselves or a short autobiography LESSON TWO: The Artist at Work

8 L E S S O N S

IMAGE FOUR: Diego Velázquez. 1599–1660. IMAGE FIVE: Pablo Picasso. Spanish, 1881–1973. Las Meninas or The Family of Philip IV. 1656. Las Meninas (Group). 1957. Oil on canvas, 1 1 Oil on canvas, 10' 5" x 9' 1" (318 x 276 cm). 2' ⁄2" x 8' ⁄2" (194 x 260 cm). Museu Picasso, Museo del Prado, Madrid. Photo by Erich Barcelona. Donated by the Artist. © 2006 Artists Lessing/Art Resource, New York Rights Society (ARS), New York

IMAGE SIX: Pablo Picasso. Spanish, 1881–1973. IMAGE SEVEN: Pablo Picasso. Spanish, 1881–1973. 1 1 Peintre et modèle tricotant (Painter and model Painter and Model. 1928. Oil on canvas, 51 ⁄8 x 64 ⁄4" knitting) from Le Chef-d’oeuvre inconnu by (129.8 x 163 cm). The Museum of Modern Art, Honoré de Balzac. Etchings executed 1927–1931, New York. The Sidney and Harriet Janis Collection. published 1931. Etching from an illustrated book © 2006 Estate of Pablo Picasso/Artists Rights of 13 etchings and 67 wood engravings. Plate: Society (ARS), New York 9 15 5 15 7 ⁄16 x 10 ⁄16" (19.3 x 27.8 cm); page: 12 ⁄16 x 9 ⁄16" (33 x 25.2 cm). Publisher: Ambroise Vollard, Édi- teur, Paris. Printer: Louis Fort and Aimé Jourde, Paris. Edition: 340. The Museum of Modern Art, New York. The Louis E. Stern Collection, 1964. © 2006 Artists Rights Society (ARS), New York 9 LESSONS and Picasso’s eas to focus on another awing that is being created. , at themselves also represent but should limit their comments to their s The Family of Philip IV or , to see what the describer is not allowed self-portraits Las Meninas Ask students in each of the ar and the describer oom. eflect what is going on in the room as a whole.eflect what is going on in the room How does each your students should discuss the process. Ask them what was the they must not comment on the dr Decide which rules you want to apply or take turns trying them all Decide which rules you want to apply or take , . e— etc , and ask them to select five words that describe each of the paintings. and ask them to select five words awing awing eas in your classr . awer is dr The activity works best when the drawers and describers switch roles. and describers The activity works best when the drawers After ten minutes ganize your students into pairs.“drawer” Assign one student to be the and the other to be aw what they hear being described, group the same? Ask your students why this might or might not be the case. the same? group does this What Ask them to share their descriptive words with the class. their descriptive words Ask them to share “Las that Inform your students Meninas” means “the maids-in-waiting.” out. of describing and dr most challenging part of the exercise. about the ways in which individual to your students Talk and language play into this exercise. perception Las Meninas (Group) area and take ten minutes to sketch or write a descriptive paragraph about what is going on or write a descriptive paragraph ten minutes to sketch and take area in that area. of the class. with the rest their observations share Have your students Ask your students if their descriptions r any descriptions within Are his or her particular point of view? observation reflect student’s a about their point of view? reveal Velázquez’s Show your students Diego To further explore differences between what is seen and what is recorded or documented, between what is seen and what is recorded differences further explore To identify four ar description of the imag that can be applied to this exercise, various additional rules are There for instance: drawer the is not allowed to ask the describer any questions the dr Students will consider how an artist renders his point of view or perception of an experience his point of view or perception Students will consider how an artist renders as an image Or “describer.”the pencil and paper and give the describer an image—it Give the drawer can be a reproduction, a postcard, a newspaper or magazine. from or a picture The describer must describe the object to the drawer; must not see the image. the drawer should The drawers dr Students will consider how an artist relates to other artists and artworks in the history of art. to other artists and artworks how an artist relates Students will consider information about his or her process. an artist chooses to share how Students will explore in society. to his or her role ideas relating Students will consider how an artist communicates IMAGE-BASED DISCUSSION • • • DISCUSSION INTRODUCTORY • • • • work with the elements or tools of tools with or work the elements their craft—easel, palette, model, of works other and/or art. of images Such craft her and his or importance to the artist accord to serve at work society. to relative role articulate the artist’s images of creating By at work, themselves artists in this themselves also represented artists other to who in relation have position themselves manner. with in dialogue their work the history place ofthey self-consciously this way In art. ofPicasso participated representations creating in this tradition by not only himself at work, ofhis own versions creating also by but self-representation. artist’s another LESSON OBJECTIVES INTRODUCTION in likeness their artists record Often not only • Three hundred years separate these works. Ask your students to place them in what they think is the chronological order.Ask them to use visual evidence to explain their decision.

Velázquez (1599–1660), court painter to Philip IV of Spain, was given a studio in the royal palace in which to create works of art for the king as well as portraits and grand paintings documenting the king’s achievements.

In Las Meninas,Velázquez depicts himself pausing in the act of painting, demonstrating that his craft requires action and reflection. Indeed, all the figures seem to be caught in an instance between one position and another: the maids are in the process of leaning in toward the princess, who is in the process of turning her head; a couple in the background engage in a conversation; a man on the stairs casts a backward glance before proceeding on his way; and 10 a small boy in the foreground mischievously nudges a dog with his foot. L E S S O Amid the many large works of art hung in the room, a mirror beside the open door reflects N S the image of King Philip IV and Queen Mariana. They appear to be looking at their five- year-old daughter and her entourage, which includes maids-in-waiting, a dwarf (a common fixture in the Spanish royal court at the time), and a dog. Indeed, they are the subject of the painting Velázquez is working on, but the painter has given himself prominence and thereby accorded himself more importance. In this sense, the painting is both a portrait of the royal family and a self-portrait of the artist that not only shows us what he looks like and how he works, but also his notoriety: the royal family are his clients—they come to him to have their portrait painted.

• Having shared this information with your class, ask your students to imagine what is depicted on Velázquez’s canvas in this painting. Have your students support their description with details of the room’s spatial arrangement. Velázquez is actually creating a portrait of the king and queen, which we see reflected in the mirror.

• Ask your students to list the various characters in the painting in order of importance, based on their observation of the arrangement of the composition.

As a teen-ager Picasso had gone to see Las Meninas in the Museo del Prado,where it still hangs, and made copies of it. Later on in his career, when he was a well-known artist, he copied Las Meninas again, feeling that he must study and understand the great artists who had preceded him. Rather than make an exact replica of the painting, he created over fifty versions inspired by it. Several years prior to this project, Picasso had hypothesized the following:

If someone set out to copy Las Meninas, in all good faith, let’s say, when getting to a certain point, and if the person doing the copying were me, I would say to myself: how would it be if I put this one a little to the right or the left? I would try to do it in my way, forget- ting Velázquez. The attempt would lead me, certainly, to modify the light or change it, because of having moved a figure around. So, little by little, I would paint my Meninas which would appear detestable to the professional copyist; they wouldn’t be the ones he would believe he had seen in Velázquez’s canvas, but they would be “my” Meninas....”5

• Having read this passage aloud to your students, ask them to identify what changes Picasso made to Velázquez’s Las Meninas. Ask them to consider how the meaning of the painting has changed based on his modifications. Students might observe that Picasso has made the painter much larger in his version, and that the mirror now seems to reflect one face rather than two.

5. Pablo Picasso, quoted in Museu Picasso Guide (Barcelona: Museu Picasso, 1998), 94. LESSONS 11 . . Both works Painter and Model which runs across the painting. which runs across and , modeling and ask them to describe what is happening and ask them to describe what is happening on the canvas based on the model at left, s 7 , 264. oom’ ofile and ask them to list the elements of the painting pr , which sits the artist, before in a yellow chair, pallet 8 Painter and model knitting Theories ofArt Modern ry, titled “The Unknown Masterpiece,”is about a seventeenth-cen- ry, Masterpiece,”is “The Unknown titled act web of lines that does not seem to capture the likeness of the the likeness act web of lines that does not seem to capture o Painter and Model to have outlined a Painter and model knitting 6 s he st act art.You must always startact art.You with always something. must can remove you Afterward , in Chipp, T r left us his idea of the people of his epoch. of the people of left us his idea different were Undoubtedly they ] c. sic alza Statement about creating art.about creating The artist in each looks at a model, what is ultimately but B He appear above the horizontal lines of the r e e is no abst e tist who for ten years worked on one painting one of on worked years ten tist who for that, a nude upon completion, was r ré d court painter,Velázquez was responsible for documenting his time. for documenting was responsible court painter,Velázquez However, Picasso recog- ar ound, he sk your students to come up with other examples where the experience of an event and the the experience up with other examples where sk your students to come no y ecord of it in writing,ecord photograph, newspaper report, different. were or television broadcast T all traces of then, no danger reality. There’s anyway, because of the idea the object will have mark.left an indelible is what started It the artist off, his ideas, excited and stirred up his emotions. will and emotions be in his work. in the end prisoners Ideas they do, Whatever the picture. escape from they can’t from what he painted them, what he painted from the one any other way than conceive a Philip IV in but we cannot painted.” Velasquez Continue the discussion of these works by reading the following statement by Picasso aloud Continue the discussion of these works by reading to your students: Ask your students to compare Ask your students to compare Show your students Show your students A r As of what he saw, a replica was not simply to create primary concern the artist’s nized that but very particular way. what he saw in a information about to communicate Picasso noted, As [ “Velasquez In the center of the image is a canvas in hand. on a pedestal. sculptures which may in fact have been one of his own The contour of the painted profile, however, own than the model. is closer to Picasso’s In addition, on the image realistic,the canvas seems more of the painting, than the remainder less abstracted with its simple, flat, geometric shapes. appear in the back- work of art and two windows A framed gr in the picture. of creating the process about Picasso want the viewer to understand might What his model,Although the artist seems to closely observe art? a woman knitting, what appears on his canvas is an abstr woman at all. of art ar he sees. of what version or representational depicted is not a realistic Your students may also ask their parents or grandparents to identify a significant historical to identify a significant or grandparents students may also ask their parents Your event they experienced.event and collect historical docu- this students to research Ask your ments—photographs, newspapers, who initially them to the person present broadcasts—and described the event, to similarities and differences with respect that person interviewing and the historical documents. between his or her experience o ur 7. Ibid, 264. 8. Ibid, 270. 6. Picasso, Pablo • • • This etching is one of is one This etching a series of illustrations a book for of writer the French short by stories H • To further explore the concept of the concept further explore To truth in art, Picasso to by the following statement read students:your Art is not truth. that all know “We truth, us realize Art is a lie that makes at understand. us to least the truth that is given to whereby The artist the manner know must of others convince the truthfulness of his lies.” t an abstract he understood. image only • • 9 0 1

John Keats,“OdeJohn Book of Urn,”The Oxford a Grecian on Verse: English 1250–1900. Arthur Quiller-Couch, ed. (London: Oxford Ye know on earth, on know Ye know. need to and all ye “Beauty is truth, is all truth beauty,”—that lie that makes us realize truth, us realize lie that makes understand. us to least the truth at that is given The artist Ibid, 264.

University Press,University 1919). 10. 9. Next, read the following excerpt from John Keats’s poem “Ode on a Grecian Urn,”which also Urn,”which a Grecian on “Ode poem Next, Keats’s John from the following excerpt read truth and beauty: to relation art’s considers with up of definitions come to students your Ask beauty. of definitions for ask them Now truth. groups, Alternatively, two form may students your both of just on which should focus ofone the words. their definitions. compare then may The groups art and against that the idea for argue must in which students debate Organize a classroom truth. be represent must beautiful or ACTIVITY about art truth: and statement Art not truth. is that all know Picasso’s to Return “We Art is a of others convince to whereby the manner know must the truthfulness of his lies.”

LESSONS 12 LESSONS 13 " 4 ⁄ 1 um ofArt, Modern use he M T . 1932. canvas, Oil on 64 x 51 Pablo Picasso.Pablo Spanish, 1881–1973. 2006 Estate of2006 Estate Rights Picasso/Artists Pablo 62.3 x 130.2 cm). IMAGE NINE: Girl before a Mirror (1 New York. New Gift of Mrs. Guggenheim. Simon © Society (ARS),York New " 4 ⁄ 3 25 x 8 ⁄ 3 odern Art, M f . 1901. on Oil Spanish, . um o (69.5 x 57 cm). Museu use The Wait " 2 ⁄ 1 or lo Picasso he M 22 T x lo Picasso. Spanish, 1881–1973. ab 4 ⁄ P 1 ab : P Margot Margot 1911–12. canvas, Oil on 39 arcelona. Plandiura acquisition, 1932. B , rk. the Lillie through P.Bliss Acquired o Y w 2006 Estate of2006 Estate Rights Picasso/Artists Pablo 00 x 64.5 cm). e cardboard, 27 1881–1973. IMAGE EIGHT Picasso © Society (ARS),York New N Bequest. of © 2006 Estate Picasso/Artists Pablo Rights Society (ARS),York New IMAGE TEN: Jolie.” “Ma (1 LESSON THREE: Portraiture LESSON THREE: INTRODUCTION Portraits can represent individuals in many different ways. A portrait can be a literal representation or it can represent a person symbolically. It can capture a person’s physical characteristics and/or attempt to represent his or her personality, ideas, or emotions. These three portraits by Picasso represent a range of styles, from representational to abstract.

LESSON OBJECTIVES • Students will understand the conventions of portraiture such as pose, gesture, expression, costume, and setting.

• Students will examine three distinct styles in which Picasso worked. 14 L E S S O INTRODUCTORY DISCUSSION N S • Begin the conversation by asking your students to define “portraiture.” Ask if they have ever sat for their portrait. Perhaps they have had their picture taken at school. Ask if they ever do anything special in preparation for having their picture taken. Ask them why or why not.

• Ask you students to describe what someone looking at his or her portrait could learn about the sitter from what he or she is wearing (the costume) or the expression on his or her face.

IMAGE-BASED DISCUSSION • Ask your students to take a moment to look at Margot or The Wait. Ask students to describe the woman’s pose, her gesture, her expression, and her costume.

• Ask your students about the position of the woman’s body. Ask them what they think her posture communicates.

• Ask your students what they can learn about the woman by examining her pose, gesture, expression, and costume.

• Direct your students to focus on the background of the painting. Ask them if the background can aid them in learning about this person. Ask them why or why not.

When Picasso was nineteen years old, he went to Paris. At the time, Paris was the center of the art world. Picasso was excited by the city’s fast pace and diversity, and he began to include street scenes and scenes of Parisian nightlife in his work. It is likely that the woman in this picture was someone that Picasso saw on the street or met briefly in a music hall.

• Ask your students to think of descriptive words to characterize the style of this painting.

Leaning forward, with elbows crossed before her on the table, the figure looks directly at the viewer. She is most likely seated in a café frequented by Picasso and his friends. Picasso’s style in this period was representational and defined by broad brushstrokes and the use of vibrant colors, which give the painting a mosaic-like pattern, particularly in the background.

• Ask your students to take a moment to look at Girl before a Mirror. Ask them to tell you what they see in this painting, referencing her expression, gesture, pose, and costume. Be sure to ask them to support their observations with visual evidence from the painting.

• Ask your students what they can learn about the sitter by looking at the painting. LESSONS 15 Girl and “Ma , Girl before . Braque and The Wait Girl before a The Wait or or and ee examples of the Cubism (1901) and (1901) Margot Margot The Wait illiam S.York: of (New The Museum Rubin The Wait or Let your students know that this W . or Margot subject that clearly interested Picasso was subject that clearly interested Margot “Ma Jolie.” A 11 . to have them back up their responses with visual to have them back up their responses e Be sur . moment to look at Ask your students to consider how these thr a . e rt the imagery. out Braque, by works comparable For as his such in the Collection ofin the Collection of The Museum Art Modern om a popular song , himself. associated with a figure whom Picasso often this way, In o so fr o icass t “Cubism is an art of dealing primarily with forms.” Its subjects, however, P d olie” (1911–12), please visit www.moma.org/collection. . of the figures. their interpretation impact Ask how these stylistic differences ie r t harlequin Girl before a Mirror y om the images “Ma J va Gouel, jolie”“Ma whom Picasso had nicknamed pretty one), (My a phrase 932). the others, Like figure, this painting depicts a female was a and the sitter was painted in 1911 to 1912, to between in 1911 was painted E the center, to recede. of the painting appears while the parameter At the top center, ds (1 and . not only the subjects of the portraits, that students consider Ensure also the ways but d with fellow painter Georges Braque. Together they developed a new way to represent Braque. Georges to with painter new way a they fellow developed Together nd, e ie lo Picasso, in quoted irror ab Jolie,” before a Mirror Mirror lfr many styles in which Picasso worked communicate in different ways. communicate in different many styles in which Picasso worked painting Ask which the most about the subject.reveals the least. Ask which one reveals Ask why. portraits of women. portraits evidence fr is an image of a female figure holding a guitar.Askis an image of a female figure out them to look closely and try to make the figure. and brown, in shades of gray Although the painting is predominantly making it hard background, the from to distinguish the figure concentrated the lines and geometric forms are towar on tilting shoulders; to rest out a head that appears one can make diagonal lines sloping down to the left suggest an arm; in the bottom right corner, point downward. four fingers Other items, which connote music and a café setting, and musical notation clef from include a treble the wor Ask your students if they see any stylistic relationship between Ask your students if they see any stylistic relationship Picasso once said, he continued, of interest.” “must be a source Ask your students to tak Ask your students which painting reveals more about its subject in their opinion. about more painting reveals Ask your students which Ask why. between differences Ask your students to think about the stylistic Ask your students to consider similarities between Ask your students to in which they are painted,in which they are to the given sub- the choices Picasso made with respect including pose,ject’s position, and surroundings. P anc dern Art,dern 1972), 70. M om a popular song at the time. a popular song om During this period, in southern Picasso was working o r ir Picasso hoped to break down form into interlocking geometric interlocking shapes.Although into form down break Picasso hoped to their work decipher, rather abstract difficult to seems and is often that they Picasso and Braque felt in fact depicting life, modern were in the perplexing their audience involve and hoped to puzzle as the • Man withMan Guitar • fr F them, around the world which an art called pejoratively critic later “Ma Jolie” “Ma g • a • • • The woman in this painting is Marie-Thérèse Walter, painting in this is Marie-Thérèse The woman of one girlfriends, Picasso’s who of many appears in this time. his paintings from this portrait In Marie-Thérèse, who was at the time,possibly pregnant looks at herself a mirror. in reflec- and her Marie-Thérèse But not identical, are mirror tion in the suggesting a symbolic duality, that is, sides different two of character. her transitioning Marie-Thérèse as a young interpreted This painting often is maturity. to innocence from of is reminiscent in the background pattern The diamond the ofcostume a in the painting.Picasso is also symbolically present 11. M . Girl a Mirror before

ACTIVITIES ACTIVITIES 1. small of groups into students Organize your five. or four sketch. an object to group each Give paper. colored plain or on sketch sit in a to group may in each students the students Ask Your perspective. a different the object so they made have around each circle have the students After sketches,quick pieces.As five or four their drawings into tear them have a group, students have an abstract into composition.Ask the pieces and layer what has hap- combine consider to them subject of the pened to their sketch. If not someone to the finished product they showed in the project,involved the subject of would be recognizable? their composition 2. plan a portrait to students of your Ask they someone know. think about the to them Ask costume, expression, pose, in their portrait. include to they and background intend them Ask if consider to they that is abstract. one will a portrait or create is representational that if Ask the person ideas include to they will attempt or focus primarily looks what the person like on might be contemplating, in Walter as Picasso did with Marie-Thérèse

LESSONS 16 LESSONS 17 he T . 1921. Oil (203.9 x 174 cm). " is informed not only by only not is informed 2 ⁄ 1 Art, York. New Gift of Mr. 8 6 n r x e Pablo Picasso.Pablo Spanish, " d 4 ⁄ 1 o M reflects contemporary socialreflects and Three Women at the Spring Women Three f vas, 6' 8 um o can use n o IMAGE TWELVE: 1881–1973. M and Mrs. D. Allan Emil. ©2006 of Estate Pablo Rights Society (ARS),Picasso/Artists York New Les DemoisellesLes d’Avignon Oil . 907 1 Three Women at the Spring Women Three r, style, or a communicate helps to often is represented in which the topic moiselles d'Avignon. e /Artists Rights Society (ARS), /Artists Pablo Picasso.Pablo Spanish, es D L ’s own experiences but also by general social concerns of general social concerns also by but own experiences ’s his time. not it does While he manne 973. lo Picasso T ab e. Students will explore the relationship between a work of art and the viewer, the relationship Students will explore artistic and for inciting a specific response. strategies Students will consider the role of an artist in responding to or reflecting on contemporary to or reflecting of an artist in responding Students will consider the role issues or ideas. P ew York v f 881–1 i • depict contemporary events, LESSON OBJECTIVES • Picasso his painting stylecultural concerns, in light of ability reinvent to Picasso’s and demonstrates concerns. such INTRODUCTION a variety are There of artists that they do. why choose the topics reasons The subject of a ofwork in which the artist moment the historical art is working, by can be influenced and specific reflect social,may political, own perspec- as the artist’s as well and cultural concerns t specific message. fig- female Picasso that represent by large works two explores This lesson styles. very in two different executed ures LESSON FOUR: Painting ModernLESSON FOUR: Life N on canvas,on 8' x 7' 8" (243.9 x 233.7 cm). The ofMuseum Art, Modern York. Acquired New the Lilliethrough P.Bliss Bequest. ©2006 Estate o 1 IMAGE ELEVEN: . Ask them to each eaction to the work. (New York: of(New The Museum Modern ong r omen ofomen Avignon). The title refers he w of the painting. Ask if they can tell where T ( Les Demoiselles d’Avignon Looking at Matisse and Picasso at Matisse Looking 2 1 background u eddntso tpbil ni 96 the same year until 1916, it publicly he did not show but . to their visual according the figures Ask them to group 907, moiselles d’Avignon e in 1 k When planning this painting,When Picasso had originally thought of r es D o t. expressions L and this w ican ar d “It’s the work of the work “It’s a madman.” e fr t ubbed it A poses this painting has been interpreted in many ways. in many this painting interpreted has been as marking seen is often It f said, mple n nd d e o ie v ’s studio, ’s and art painters dealers, including it. to reactions had negative One art cus o e o r f they say yes, in art. and why they should not be represented they are ask what f

Ambroise Vollard, et Gonzalez al, Carmen del in María Ambroise quoted similarities. this scene is taking place by looking at the background.this scene is taking place by looking at the Ask why or why not. say one word that describes the painting. that describes say one word on the chalkboard. a list of these words Make Ask your students to look at the figures in the painting again.Ask your students to look at the figures Ask them to consider the role of the viewer in this work. engages the viewer. Ask how they think Picasso Ask your students to consider why people might have had such a str Ask your students to consider why people life-size. in the painting are Inform your students that the figures Ask your students to imag- of the painting. to stand in front ine what it would be like Ask if they think they would feel welcome in this space. Ask why or why not. Direct your students’ attention to the your students’ attention Direct Begin the discussion by asking your students to focus on the figures.Begin the discussion to describe Ask them the figures’ Ask your students to take a moment to look at take Ask your students to Ask your students what they think is the role of an artist. is the role what they think Ask your students to be topics they believe Ask what for an artist to consider. important issues, social of art that presents the impact of a work to think about Ask your students such as poverty or disease. in art. should not be represented topics that they feel are there Ask if I decisive shift in the way the world can be represented by artists. by can be represented the world shift in the way decisive than adhering Rather to he

eale aised, their the viewer. exposing bodies to they occupy, The room and icy blue with brown 12. Art), 21. a traditional and painting technique, rules about composition with break con- to Picasso chose his ideas. communicate to vention form, distorted He details while some leav- accentuating altogether, others ing out of instead faithfully trying likenesses. create to This fragmentation of angles several that Picasso was trying at also suggests his subjects form from represent to • T d ofComposed fragmented, forms, jagged edges rather rounded than soft naked these five at us with stare large asymmetricalwomen eyes. stand with central figures arms The two r curtains, might one expect. the way in space recede to does not seem to a street in the red-light district a street to of Barcelona. of Many the painting in the people who saw Picasso • • • Picasso c that a fr • of the rest after the right completed on is thought figures were It that the two the composition. figures, These two faces, with in Iberian their masklike (ancient interest Picasso’s reflect Spanish) and IMAGE-BASED DISCUSSION • male figures: two including a sailor,the fruit in the center by and replaced out who was taken of the painting, and a medical student, at the far left, the figure now arm who has one raised, a curtain,holding back in fist. clenched and the other INTRODUCTORY DISCUSSION INTRODUCTORY • •

LESSONS 18 LESSONS 19 . and 13 Les s, and a Les Demoi- other painter , ance to the glory it had is no reference to anything is no reference e Les DemoisellesLes d’Avignon ther . Then have your students share eturn Fr ences history . the students into groups Divide was made fourteen years after was made fourteen years efer r , 265. Les Demoiselles d’Avignon Les Demoiselles d’Avignon Three Women at the Spring and Three Women at the Spring Theories ofArt Modern Three Women at the Spring . . ask your students why Picasso may have chosen to modify his style ask your students why Picasso may have chosen , and two years after the end of World War I. I is considered ,War War World World after the end of and two years ing r how they can gethow viewers’ attention, they will and how get their mes- times p r e , in Chipp, and that unlike and that unlike y, it ought be felt said. to I have in which said it in the manner I have ,time? to the artist at this have seemed inappropriate sa nsid . a well. around women gathered depicts three The painting in dressed They are o o at the S st modern war, by in huge numbers targeted civilians were and one in which Statement classical ary n not only to clean up the destruction but also to r not only to clean up the destruction but also nsider how they would represent artistically what they represent they would learned how about this topic. nsider o — c ome thing t o W t should c ver hesitated to adopt them. adopt to hesitated ver trials made experiments. nor never I have I had Whenever me der” y ee m Demoiselles d’Avignon selles d’Avignon Pablo Picasso, Pablo classical robes and they seem to be surrounded by rich earth—even and they seem to be surrounded classical robes their stocky bodies appear to be made of clay. enjoyed in their lists. ideas and not to repeat students to listen closely to one another your Encourage been shared.that have already support their ideas with visual that your students Encourage the paintings. evidence from contempor Ask your students to consider how a painting depicting an idyllic and classical scene made at Ask your students to consider how a painting depicting an idyllic and classical scene social commentary.this specific historical moment might be considered to Ask your students consider the following quote by Picasso: If of ways different suggested have express to wanted the subjects I have expression, I have ne so Inform your students that Given this information, Inform your students that bodies, paintings of angular and fragmented might Why such as we have seen in Three Women at the Spring paintings differ. Now ask your students to describe how the Ask your students to look at Ask your students to Now that your students have looked at and discussed the work, have looked Now that your students again to each ask them the painting. that describes select one word a list of the words. Make Discuss any differences work and the ideas they students had when they initially saw the between the ideas your it as a group. had after discussing classical subject, to be the fir tactics such as aerial bombing. number of casualties, a severe Not only was there but also homes, buildings, government bridges, skele- to rubble or mere reduced were and churches tons. following the war, Immediately to “return and social impetus to was a political there or of two or three, as they can find between to come up with as many similarities and ask them he nce. multiple perspectives, offering By about how think he was perhaps encouraging us to ive nude women posing suggestively in a brothel, posing suggestively women nude ive our gaze. returning us by who confront sage across. of a work They can execute what they might art create. consider just or T 13. ACTIVITIES be of to that they consider a topic research to students your Direct social importance. Ask the Ask your students how this quote relates to their discussion of their discussion to relates this quote how students your Ask Thr • • • • • • o over and processed various mightsomething gathered angles—how information look from itself.time might reveal of is the execution only Not painting the noteworthy, subject: so is its f • LESSON FIVE: Art and War

IMAGE THIRTEEN: Pablo Picasso. 1881–1973. Guernica. 1937. Oil 1 on canvas, 11' 5 ⁄2" x 10' (349.3 x 776.6 cm). Museo Nacional Centro de Arte Reina Sofía, Madrid. © 2006 Estate of Pablo Picasso/Artists Rights Society (ARS), New York 20 L E S S O N S

IMAGE FOURTEEN: Pablo Picasso. Spanish, 1881–1973. The Charnel House. 1944–45. Oil and charcoal 5 1 on canvas, 6' 6 ⁄8" x 8' 2 ⁄2" (199.8 x 250.1 cm). The Museum of Modern Art, New York. Mrs. Sam A. Lewisohn Bequest (by exchange), Mrs. Marya Bernard Fund in memory of her husband Dr. Bernard Bernard, and anonymous funds. © 2006 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

INTRODUCTION Picasso’s work was not consistently political, but in 1945 he said the following:

What do you think an artist is? An imbecile who has only eyes if he’s a painter, or ears if he’s a musician, or a lyre at every level of his heart if he’s a poet, or even, if he’s a boxer, just his muscles? On the contrary, he’s at the same time a political being, constantly alive to heartrending, fiery, or happy events, to which he responds in every way[. . . .] No, painting is not done to decorate apartments. It is an instrument of war for attack and defense against the enemy.14

The two paintings in this lesson are Picasso’s most overtly and powerful political statements.

LESSON OBJECTIVES • Students will consider political art’s definition and role in society.

• Students will explore Picasso’s response to specific historical events in the twentieth century.

14. Pablo Picasso, Statement, in Chipp, Theories of Modern Art, 487. LESSONS 21 n o nting . Ask your omme Otherwise ed having been ed having c . w lo ol Guernica . Inform your students Rubin (New York: of (New The Museum Rubin . this Ask them to compare liam S. nths that f il W The public who look at the picture . Ask them to describe what they Ask them to describe . Ask your students if they think ds! In this quote,In Picasso was distinguish- 15 the differences? the differences? . later. it six months completed He 16 e in the mo e uernica Charnel House G us Ask why or why not. hat ar o W Guernica H l ne Char llection of of The Museum Art Modern o "It isn't up to the painter to define the symbols the similarities? ent, as a documentary would, photographer and ote them out in so many wor e v in the C o an e hat ar icass P W . Picasso said, ist. Picasso began t was executed between 1944 and 1945, after years eight ording rg/treasuresoftheworld/a_nav/guernica_nav/main_guerfrm.html . to a photograph. Ask them how this work compares How is it similar? How is it ebellion led by right-wingebellion by led Franco, nationalist Francisco Picasso commissioned ec quoted in quoted r , bs.o is effective as an antiwar statement. is considered to be an antiwar statement.is considered to explain his use of symbol- asked When fArt in 1940, Modern until 1981. it remained where the mural to Picasso wanted .p which traveled to many places after the 1937 World’s Fair,World’s at The was exhibited the 1937 after places many to which traveled Guernica , in a r d your students to take a moment to look at a moment your students to take nt as an ar tween tween e um o e lo Picasso e ime, of filled with accounts photographs and first-hand were the event. put Picasso p://www rn Art, 1972), 166. v sk ag ab e e P htt d think is going on in the work,think is going on in the and why. Ask your students to take a moment to look at Ask your students to take Charnel House Guernica Guernica work to background to an actual event. this scene in reaction Inform your students that Picasso painted A of the work. consider the formal characteristics Ask your students to to consider Ask them and an ambiguous figures that is black and white and has abstracted the impact of a work Ask your students to brainstorm definitions of political art. definitions to brainstorm Ask your students should discuss students Your deemed political.looking at art that is expect to find when what they con- they sure Make in terms of medium, make an artist might sider the choices material, scale, and composition for widest dissemination. or her ideas and allow his to best represent different? What would be the impact of this work if it were in color instead of black and white? in color be the impact of this work if it were would What different? must interpret the symbols as they understand them.” the symbols as they understand must interpret it would be better if he wr students if they know what was going on in the world during this time II (September 1945). War World the end of that this period marked ism in the work, use uernica o ng MAGE-BASED DISCUSSION M 16. 15. In 1944,In Picasso said, the war because I am not the kind of not painted “I have who painter depict.” something to for a photographer like out goes an aside his originalaside and began on theme work • • to create a mural that would hang in the 1937 World’s Fair in Paris. Fair a Picasso began on work World’s hang in the 1937 a mural that would create to theme, but, 27,April on 1937, of bombed the Spanish town rebels three over for Guernica hours, 1,600 civilians. killing wounding or in Paris, Newspapers Picasso was living at where the t G M the Spanish people,be owned by Spain while Franco to return it to allow to he refused but was in power. • During the Spanish Civil War (1936–39),War During the Spanish Civil government, the incumbent Spanish which was e ing b • I • • INTRODUCTORY DISCUSSION INTRODUCTORY • exposed through newspapers to horrifying newspapers to exposed through photographs of camps. concentration or . Picasso Guernica Guernica . Charnel House , of a scene he created an Charnel House Charnel House , 487. , 1945, and when he painted when creating when creating oes not explicitly represent an historical event,oes not explicitly represent title and the Guernica d Guernica at the 1937 Paris World’s Fair, he knew that millions of where World’s Paris at the 1937 rtunity see it. to best commu- they could how students your Ask Theories ofArt Modern o p p Guernica harnel House , in Chipp, the o C e , be considered “an instrument of war for attack and defense against the for attack and defense “an instrument of war be considered v ical message to a large group of a large group ical message to groups people today. form to students your Ask Statement ting the massacre ofting the massacre victims innocent public work, in a monumental Picasso 17 uernica olit ould ha G pic p e a d e the work is unspecific. choice not to be explicit how they think Picasso’s Ask your students the suffering people represented in the paintings? in the paintings? people represented the suffering y ple w nlike nlike f

B o Pablo Picasso, Pablo worked in many different styles during that time, in many different worked to the style of he returned but enemy?” when creating his image of the horrors of World War II.War World your students why they think Ask of the horrors his image of when creating to the style of Picasso returned U o the effect of the painting. about his topic impacts Picasso completed this guide of some of the work that from Show your students images between 1937, painted when he Ask your students to consider both paintings. to consider both Ask your students the innocence Picasso communicate How does of page. quote on the previous to consider Picasso’s Ask your students How might Charnel House e ents to research contemporary artists who comment on political events and contemporary contemporary artists political on events research whocomment to ents

to research a political issue and come up with disseminating the information. a political a plan for and come issue research to ACTIVITIES 1. of the end advocated War. the Spanish Civil With nicat • • p • • innocent family being family murdered,innocent peace.Ask for advocate to what in order they students your and art art is between think the relationship that documents. that comments stu- your Ask d artists political who document events. 2. Picasso exhibited 17.

LESSONS 22 LESSONS 23 onze, r B 952). 950 (cast 1 1 . at (117.7 x 143.1 x 71.4 cm). (117.7 o Pablo Picasso.Pablo Spanish, " 8 ⁄ 1 he-G 28 S x 8 ⁄ 3 973. 56 x 8 ⁄ 3 f Rights Society (ARS), Picasso/Artists Pablo 881–1 46 IMAGE SIXTEEN: 1 Mrs. Fund. Guggenheim Simon © 2006 Estate o York New (78.8 x " 2 ⁄ 1 1 2 . (cast 1951 x 8 ⁄ 5 Sheet metal and (77.5 x 35 x 19.3 cm). 35 x 19.3 x (77.5 12–13. " lo Picasso/Artists Rights lo Picasso/Artists 9 8 ⁄ Pablo Picasso.Pablo Spanish, 5 1 . ab 7 P x Pablo Picasso.Pablo Spanish, f 4 ⁄ 3 o uitar e Goat Skull and Bottle Goat Skull G 13 x 2 ⁄ 1 973. Painted bronze,Painted 31 x 37 ciety (ARS),York New 2006 Estat o 954). 881–1 wire, 30 1 1 IMAGE SEVENTEEN: IMAGE FIFTEEN: The Museum ofThe Museum Art, Modern York. New Gift of the artist. of © 2006 Estate Picasso/ Pablo Artists Rights Society (ARS),York New 1881–1973. 95.3 x 54.5 cm). of The Museum Art, Modern York. New Mrs. Fund. Guggenheim Simon © S LESSON SIX: Innovations in Media Innovations in LESSON SIX: - e hat types of found He made a sculp . W . Ask your students what . Inform them that this is a sculptur . emind us of a guitar hat kinds of forms do they imagine he might Ask what materials they used. . one-dimensional works Guitar Goat Skull and Bottle W , . typical materials used in a col- Ask what they think are moment to look at collage moment to look at a a e e , objects. and found preexisting in which he incorporated Ask them if they have ever made a collage .

Ask your students to tak (a three-dimensional object).(a three-dimensional think this object represents. Ask your students what they Ask guitar.Askthem how they can tell that the object is a with a guitar. similarities it shares what Ask how it differs. they notice about this work. to tell your students that this is a three-dimensional Be sure object. ture of a guitar,ture but it is not a complete guitar.Ask to your students what this might reveal familiar objects.them about how we perceive Do we need to see the whole object to understand what it is? a nontraditional representing Inform your students that in addition to making a sculpture subject, out of sheet metal, the sculpture Picasso surprised people by making a nontraditional material for making a fine art object. Ask your students to tak Picasso made this object by combining shapes that r Inform your students that Picasso made two- and three-dimensional collages, and three-dimensional Inform your students that Picasso made two- as also known assemblages. assemblages might be of Picasso’s Ask your students what their expectations other now that they have seen a number of his Ask your students to define maga- images or text from preexisting to take Ask your students why an artist might choose his or her artwork. to make zines and/or newspapers might an artist consider as he or What she chooses the images? Students will consider why an artist may choose to work in three dimensions instead of two. dimensions why an artist may choose to work in three Students will consider Students will consider Picasso’s work in different mediums. work in different Picasso’s Students will consider sculpture, the impact of using found materials to create Students will consider and some of ideas about perception. Picasso’s material do they imagine he might have used? material do they imagine he might have used? have created? lage

ESSON OBJECTIVES ESSON OBJECTIVES • • • IMAGE-BASED DISCUSSION • • • • • DISCUSSION INTRODUCTORY assemblages L • • INTRODUCTION withPicasso experimented a variety of mediums, dimen- and three in both two working sions. objects art, in his use unconventional led him to experiments often His such including handlebars—objects he did not fabricate that and bicycle paper as silver items disparate himself his work. into appropriated rather and found but Picasso’s focuses on This lesson

LESSONS 24 LESSONS 25 lebars, but Ask them to think as hand . of bicycle. my . . .”And ] sic She-Goat Picasso might have used an old e and , 8 1 . Traditionally, paintings still life . was also created This sculpture oat and Bottle Skull G . still lifes She-Goat eating , 273–74. cr e Goat Skull and Bottle , icycle seat I made a bull’s head which everybody recognized a bull’s seat I made icycle Guitar ea that an object can be perceived in several different ways at ways different in several ea that an object can be perceived e , however, looking for went and then sketches he first made Theories ofArt Modern and b s Ask your students if they can tell wher in the id . d She-Goat e , in Chipp, le bar Ask them to consider how their perception shifts back and forth between the Ask them to consider how their perception est . r e Statement cognize them as goat’s horns. as goat’s them cognize a viewer might in the way Picasso was interested the hand ften rummaged through junkyards looking for objects that might a sculp- looking for inspire junkyards rummaged through ften e f o t own on the scrapown on heap. and say:“Why will along a fellow come day some there’s Perhaps om found materials also r bjects represented in three dimensions. in three bjects represented why Picasso may have Ask your students to consider hosen a traditionally two-dimensional subject for this sculpture. two-dimensional hosen a traditionally about both the subject of the three sculptures and the materials used to make them. and the materials used to make sculptures about both the subject of the three represent three-dimensional objects—precious and highly prized or common and everyday— highly prized or common and objects—precious three-dimensional represent in two dimensions. three-dimensional students to describe the impact of seeing Ask your o c fr Ask your students to form groups and assemble some found objects from which to create and assemble some found objects from Ask your students to form groups something new so a double metamorphosis would have been achieved. have metamorphosisso a double would Ask your students to compar head.as a bull’s a metamorphosis was completed; Thus see to like I would and now direction. in the opposite place metamorphosisanother take head is bull’s my Suppose thr the handlein very bars [ for handy come something that would Ask your students to take a moment to look at Ask your students to take Ou Picasso made this object out of found materials,Picasso made this object a mold that he then which he created from cast in bronze. is painted. The bronze any of the objects Ask your students if they recognize this sculpture. create that Picasso used to Organize your students into groups of twos or threes. of twos into groups your students Organize up with a list of Ask them to come sculpture. objects in this the three between the relationship ideas about called are of inanimate objects Representations wicker basket in this object (the rib cage), in this object (the basket wicker vine stalks (the horns), or frond palm and a large leaf (the spine). found objects and the new object they ar Pablo Picasso, Pablo e nce. example, For the handlebars in recognize we • Picasso was int o ture. the case of In • • Picasso o while looking and forth at the sculpture. back both between perceptions move an interview,In said of Picasso once sculpture: a found The bottle and candle to the left ofThe bottle and candle to scrap metal, from formed were this work with nails and of the rays representing spikes light. board. corrugated skull from was made goat’s The Nails and tufts of the teeth create horns. the goat’s hair between the from made The horns were handlebars of bicycle. a child’s the sculpture. make to combine that he could pieces a while, For this sculpture Picasso kept in his garden, tying occasionally his pet it. goat to w • • • 17. ACTIVITIES 1. Create a collection of found objects in your classroom. Encourage your students to work with the found objects in two ways. First, they can create something that is inspired by what they find. Then they can make a sketch of something that they want to create, and look for the pieces they need to make it. Ask your students to write about which process was easier or more successful, and why.

2. Have your students research the Dada movement (around 1916–1924). Dada artists often used found objects to create art. Compare their use of found objects to the ways in which Picasso used found objects.

26 L E S S O N S FOR FURTHER CONSIDERATION 27 different artists over his long and productive his long artists over different y ith man eas w id d e ks shown around the work. should also think about how the students ks shown around Your r o and shar tw d ar e r k r o r. artists with relationships the French his working research to students your Direct e e OR FURTHER CONSIDERATION OR FURTHER Georges Braque and Henri Matisse. Braque and Henri Georges car Ask your students to explore MoMA’s collection on line (www.moma.org/collection) and line (www.moma.org/collection) on collection MoMA’s explore to students your Ask artists other by strategy that use the works identify of collage. Picasso w RESEARCH PROJECTS Visit The Museum of Museum The Visit Art in this guide. artwork an and locate included Modern Encourage and scale, size work’s the consider to students your details they might not and discuss any in the reproduction, noticed have of as the texture such surface. the how students your Ask oftheir understanding has not changed. has or the work exhibited works other to connection some galleries have usually in the Museum’s Works them.around discuss what kinds of to students your Direct who the curators connections mightinstalled be the exhibit the artist, making between style, her his or theme, her his or and the othe F of layout the physical the gallery certain choices. determined will have GLOSSARY

Alter ego: Another side of oneself, a second self. 28 G L

O Assemblage: A three-dimensional composition that utilizes a variety of materials both S

S found and original. A R Y Background: The part of a picture that appears furthest from the viewer; also, the area against which a figure or scene is placed.

Classical: Relating to ancient Greece and Rome, especially in the context of art, architecture, and literature.

Collage: A two-dimensional composition that utilizes a variety of materials both found and original.

Costume: What a figure is wearing.

Cubism: An early twentieth-century style of representation that abandoned the traditional, three-dimensional representation of space and objects and focused instead on the geometric depiction of three-dimensional form.

Expression: A facial aspect indicating an emotion; also, the means by which an artist communicates different ideas.

Gesture: The placement of a figure’s hands.

Harlequin: A clown figure, traditionally presented in a mask and multicolored costume.

Minotaur: A monster in classical Greek mythology that is half man and half bull.

Mood: A state of mind or emotion, a pervading impression.

Portrait: A representation of a particular individual.

Pose: The way a figure is positioned.

Profile: A side view, usually referring to that of a human head.

Self-portrait: An individual’s representation of him- or herself.

Setting: The context or environment in which a situation occurs.

Still life: A representation of inanimate objects. SELECTED BIBLIOGRAPHY & RESOURCES 29 New York: New . New York:New The . . London: Gallery, Tate en, Press, University C.T.: Yale v a .York: Cam- Cambridge and New . and London:York New Garland, H w e N .York: New Farrar, Straus and Giroux, . . ofYork: The Museum New Art, Modern 1946 Picasso: Sculptor/Painter . Cleveland: of Museum The Cleveland Art, 1992. .York: of New The Museum Art, Modern 1967. . and London:York New Harry N. Abrams, 2000. New York: New Farrar, Straus and Giroux, 1998. . ntion of Cubism e . Olivia by Emmet. Translated York: New Harper-Collins, rar, Straus and Giroux, 1994. v n ar F k: r icasso Papers uernica: The Biography ofuernica:The Biography Icon Twentieth-Century a o PicassoThings and G Picasso’s Les Demoiselles Les d’Avignon Picasso’s Y Making Modernism: Picasso and the Creation of Modernism:Picasso Making and the Creation Twen- for the Market tudies in Modern Art 3: Les Demoiselles 3: Les d’Avignon Art tudies in Modern and the I S w o e The P The Ultimate Picasso N Picasso: Fifty Years ofYears Picasso: Fifty Art His The Sculpture of Picasso . t Picasso’s War: The Destruction ofWar: Picasso’s That Changed Guernica and the Masterpiece icass r The Early Sculpture of Picasso, 1901–1914 P A Picasso and Dora: A Personal Memoir A Personal Picasso and Dora: Picasso: Life and Art Picasso: and Life y pe. ur e . York: New Dutton Books, 2002. P nt e l, msbury, 2005. me o erfield, John, ed. th-C ensbergen, Gijs van. rauss, E. Rosalind ELECTED BIBLIOGRAPHY AND RESOURCES AND RESOURCES BIBLIOGRAPHY ELECTED ar lo ridge University Press,ridge University 2001. 993. ie Penrose, Roland. B Johnson, Ron. 2003. K Léal, Brigitte et al. Lord, James. 1 Cowling, Golding, Elizabeth and John eds. Editions,Icon 1993. Eld t Green, Christopher, ed. 1994. Daix, Pierre. ofMuseum Art, Modern 1994. Fitzgerald, C. Michael b H 1976. K Barr,Alfred H., Jr. READINGS ON PICASSO reprint). (1974 Boggs, Sutherland. Jean S the World Martin, Russell. Richardson, John. A Life of Picasso, Volume I: 1881–1906. New York: Random House, 1991. 30 S E

L Richardson, John. A Life of Picasso, Volume II: 1907–1917. New York: Random House, 1996. E C T E

D Rubin, William S. Picasso in the Collection of the Museum of Modern Art. New York: The B I

B Museum of Modern Art, 1972. L I O G

R Rubin,William S., ed. Pablo Picasso: A Retrospective. New York: The Museum of Modern Art, A

P 1980. H Y &

R Rubin, William S. Picasso and Braque: Pioneering Cubism. New York: The Museum of E

S Modern Art, 1989. O U R C

E Rubin, William S., Kirk Varnedoe and Lynn Zelevansky, eds. Picasso and Braque: A Sympo- S sium. New York: The Museum of Modern Art, 1992.

Rubin,William S., ed. Picasso and Portraiture: Representation and Transformation. New York: The Museum of Modern Art, 1996.

Widmaier Picasso, Diana. Picasso: Art Can Only Be Erotic. Munich and New York: Prestel Publishing, 2005.

Widmaier Picasso, Olivier. Picasso: The Real Family Story. Munich and New York: Prestel Publishing, 2004.

BOOKS FOR CHILDREN Anholt, Laurence. Picasso and the Girl with a Ponytail. New York: Barron’s, 1998.

Giraudy, Danièle. Pablo Picasso, The Minotaur. New York: Harry N. Abrams, 1988.

Hart, Tony. Picasso (Famous Children). New York: Barron’s Juveniles, 1994.

Hyde, Margaret E. Picasso for Kids. Santa Monica, CA: Budding Artists, Inc., 1996.

Kelley, True. Pablo Picasso: Breaking All the Rules. New York: Grosset & Dunlap, 2002.

Mason, Anthony et al. Picasso (Famous Artists Series). Barron's Juveniles, 1994.

Venezia, Mike. Picasso (Getting to Know the World’s Greatest Artists Series). Chicago: Children’s Press, 1988. SELECTED BIBLIOGRAPHY & RESOURCES 31 cessible to the public historical documents about the Museum documents the public historical to cessible c a : Masterpiece Conserving a Modern rg. e ma.o and mak e v es@mo r v hi rn and contemporary art. If with students for set up a workshop to like would you ese r c e p d o NLINE RESOURCES Museum archivist to look primary and discuss through to archivist of documents Museum correspondence etween the Museum’s early directors, early the Museum’s etween curators, and various artists, call or (212) 708-9617 989 t a b e-mail ar and mo ABOUT MoMA ARCHIVES ofThe Museum Art and rich has a long history of Modern of in the careers involvement artist modern and architects.many A department of in was established at MoMA Archives 1 Les DemoisellesLes d’Avignon The Museum ofThe Museum Art, Modern York New www.moma.org www.moma.org/collection/conservation/demoiselles Studio:Red Teens for A Site www.moma.org/redstudio subscription) Art Online (requires Grove www.groveart.com O MoMA SCHOOL PROGRAMS

TEACHER RESOURCES 32 Guides for educators with CD-ROMs are available for loan.All schools have unlimited free M o access to these resources. M A S

C For more information, please call (212) 708-9882 or e-mail [email protected]. H

O Visit MoMA’s Web site at www.moma.org/education for information about guides and O

L teacher programs. P R O G R A

M PLANNING A MUSEUM VISIT S To schedule a guided discussion with a Museum Educator at MoMA or in your classroom, please contact Group Services at (212) 708-9685. For more information about School Pro- grams, please call (212) 333-1112 or e-mail [email protected].

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AUTHORS: Susan McCullough and Sarah Ganz Blythe EDITOR: Cassandra Heliczer DESIGNER: Tamara Maletic PRODUCTION MANAGER: Claire Corey

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In reproducing the images contained in this publication, the Museum obtained the permis- sion of the rights holders whenever possible. In those instances where the Museum could not locate the rights holders, notwithstanding good faith efforts, it requests that any contact information concerning such rights holders be forwarded, so that they may be contacted for future editions, to: the Department of Education, The Museum of Modern Art, 11 West 53 Street, New York, NY 10019-5497