DOCSLIB.ORG

Museum Berggruen: Picasso & Les Femmes D'alger Wall Texts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Museum Berggruen: Picasso & Les Femmes D'alger Wall Texts Museum Berggruen: Picasso & Les Femmes d’Alger Wall texts Ground floor: Entrance: Les Femmes d’Alger, or Women of Algiers in English, is the title of 15 paintings that Pablo Picasso (1881–1973) painted in the winter of 1954–55. The series, which marks the start of his late work, not only occupies a central place in Picasso’s oeuvre but is also notable in the context of the 1950s. While the new generation of artists in Europe and North America was painting predominantly abstractly and avoided depicting figures and objects in their works, Picasso stuck to representational subjects and painted one of the most classic motifs of the history of Western art: female nudes, which Picasso of course rendered using his own stylized formal vocabulary. He experimented with human anatomy, stretching it beyond naturalistic limits, and grappled with issues in painting that he had not yet solved to his satisfaction in the course of a painting career already over 60 years long. As revealing as it would thus be to see all paintings from the series, labelled “A” to “O,” and the more than 100 preliminary drawings and prints together, the opportunity to do so rarely arises since they have been scattered to every corner of the earth. The Museum Berggruen is the only public collection in Europe that features one of the oil paintings from the series, namely, version L. With the overview, the museum invites you to trace the development of the series step by step – as if you were watching the artist at work. Femmes d’Alger was not the brainchild of Picasso but of Eugène Delacroix, who committed the subject to canvas in the nineteenth century in not just one but two world-famous paintings. Other artists before and after Picasso have also taken on this motif. On the first floor, we present the works that served as models and inspiration for Picasso’s series; on the second, a significant part of the series; and, on the third floor, the history of its reception as well as works by contemporary artists. Almost 200 years old, Femmes d’Alger accompanied larger historical processes that we can now consider in retrospect. The result is that our view of these works is shaped by our understanding of history – in this case, Algeria’s colonial history, but also the evolution of gender relations in art and society in general. The exhibition examines these issues through the works on display and its texts. Our aim is to invite our public on an exciting journey as they walk through the museum and to encourage many different possible interpretations, casting the artworks in an even richer and more complex light. We would like to give special thanks to the Berggruen family, without whose unfailing support and financial assistance this exhibition would not have been possible. We also warmly thank all our lenders, in particular the Musée national Picasso-Paris. Delacroix: In June 1832, Eugène Delacroix visited Algiers on his way back to France from a trip to Morocco. The city had come under French rule in 1830, and a colonial official introduced him to a local dignitary, who invited him to his home. What made the most lasting impression on the painter were the women he witnessed in their rooms, not least because he was aware that strangers were normally prohibited from seeing this. He drew the women in his sketchbook and wrote down their names (right wall). He later painted two versions, which he presented at the 1834 and 1849 exhibitions at the Paris Salon; the later version is on view in this room. The motif quickly became famous, propelled by a strong interest among European audiences in glimpses of distant worlds and especially orientalist subjects, that is, depictions – often freely invented or exaggerated for sensational effect – of scenes in predominantly Muslim countries. Henri Fantin-Latour, an admirer of Delacroix, made a smaller copy of the 1834 Louvre version (the one Picasso studied intensively) after the latters death. It is presented here to show the compositional differences between Delacroix’s two versions – in particular the shifting of the women to the middle ground of the image. This copy is one of the first in a long line of artworks that engage in dialogue with Delacroix. While Delacroix had tried out different arrangements of the figures in his two versions, Picasso would completely reshuffle them in his 15 paintings. His interest in the motif can be traced to as early as 1940, almost 15 years before he painted his series. He sketched all the figures in Delacroix’s painting on separate pages, still concerned at that point with faithfully reproducing the originals. 1954 In late 1954, a confluence of several events led Picasso to follow up his 1940 sketches based on Femmes d’Alger with his own oil paintings: • His encounter with Jacqueline Roque, his future second wife, who visually bears a strong resemblance to the Algerian woman depicted in profile by Delacroix in 1834. She is usually recognizable by her distinctive long neck. In one of his first studies dated 21 December 1954, Picasso places her on the right together with the Femmes d’Alger. • The death of Picasso’s longtime friend and artistic rival Henri Matisse on 3 November 1954. Picasso was devastated; for him, a vital part of tradition and art history disappeared with Matisse. His series is not only a tribute to Delacroix but also to Matisse and many other painters from the history of art, whose work he would reference. • The beginning of the Algerian War of Independence on 1 November 1954. The significant media attention to Algeria and political discussions in Picasso’s circle reminded him of Delacroix’s painting and of his desire to work on the subject himself. “When Matisse died he left his odalisques to me as a legacy”: With these words, in 1955, Picasso presented the Femmes d’Alger series he was developing to visitors to his studio. Odalisques, from the Ottoman word for chamber, oda, refer to depictions of seated or reclining, usually scantily clad women in an intimate, oriental interior. As a subject of painting, odalisques were especially popular in the nineteenth century. Even artists not known primarily for orientalist depictions, such as J.-A.-D. Ingres or Édouard Manet, tried their hand at them. Henri Matisse, who visited Algeria and Morocco several times, worked with the motif of the odalisque above all in the 1920s, furnishing his studio with oriental carpets and fabrics and portraying his models in ornamentally patterned garments and harem pants. Even though Picasso’s Femmes d’Alger were not about the depiction of a supposed “Orient,” with his series he consciously inserted himself into the history of modern Western art, seeing himself in the tradition of Delacroix and Matisse. First floor: Beginning: On 13 December 1954 – 120 years after Eugène Delacroix and almost 15 years after his own sketches – Picasso once again took up the motif of the “women of Algiers.” He produced two oil paintings in one day, version A in color and version B in grisaille, that is, in shades of gray. The ways in which they differ from Delacroix’s original are striking. Delacroix presented the women, dressed in traditional Arab clothing, and their surroundings in great detail. Picasso, on the other hand, focused on the anatomy of the figures and, unlike Delacroix, painted them with bare breasts. Details such as the niche with the rounded Moorish arch on the left, the water pipe, and clothing are rendered as abstractly as possible. Picasso omitted Delacroix’s fourth figure, the odalisque on the far left, showing only three women, the two seated in the center and the servant behind them, who has been redesignated as a waitress. After painting these two very similar versions, did Picasso already have a more extensive series in mind? We don’t know. In any event, two weeks later, on 28 December, he assembled four female figures for the first time in version C, like in Delacroix’s original. However, in compositional terms, rather than drawing closer to the original, Picasso moved further away: it is impossible to say with certainty which figure corresponds to which of Delacroix’s, and the posture of the woman on the far right is more suggestive of a yoga studio than a harem. Art historian Susan Galassi has identified work by Henri Matisse as the model for the upside-down female nude (left wall). The legs stretched upwards also appear in all the other versions. At the beginning of the new year, Picasso continued to experiment with this constellation. Variations: In mid-January 1955, Picasso painted two more variations, E and F, this time again with only three figures. While the narrow central figure from version C has disappeared, the one on the right spreads out, taking up almost the entire foreground. One of her breasts points downwards; in version E it is blue – an homage to Matisse’s Blue Nude (Souvenir de Biskra), painted in 1907 as a reminder of his trip to the Algerian desert town of Biskra. The next day Picasso painted version F. Like in the painting from the previous day, the round arch wraps around the head of the woman sitting on the left like a halo. But here Picasso painted her face, which is reminiscent of the Femme fleur, the flower woman, a round face surrounded by blossoms, with which Picasso often depicted his former partner Françoise Gilot. The next day, Picasso dedicated an individual portrait to the servant, once again in grisaille Bodily Contortions: One week later, between 24 and 26 January 1955, Picasso executed three more paintings – this time in a significantly larger format.
Load more

Recommended publications
  • Pablo Picasso's 1954 Portrait of Muse, Jacqueline Roque, to Highlight Christie's November Evening Sale of Impressionist &
    PRESS RELEASE | N E W Y O R K FOR IMMEDIATE RELEASE: 14 SEPTEMBER 2017 PABLO PICASSO’S 1954 PORTRAIT OF MUSE, JACQUELINE ROQUE, TO HIGHLIGHT CHRISTIE’S NOVEMBER EVENING SALE OF IMPRESSIONIST & MODERN ART To be Sold in New York, 13 November 2017 Pablo Picasso (1881-1973), Femme accroupie (Jacqueline), Painted on 8 October 1954 Oil on canvas, 57 1/2 x 44 7/8 in. | Estimate: $20-30 million © 2017 Estate of Pablo Picasso / Artists Rights Society (ARS), New York New York – Christie’s will offer Pablo Picasso’s Femme accroupie (Jacqueline), painted on October 8, 1954 as a central highlight of its Evening Sale of Impressionist and Modern Art on 13 November in New York. Marking its first time at auction, Femme accroupie (Jacqueline) comes from a private collection, and is estimated to sell for $20-30 million. The work will be on public view at Christie’s London from 16 - 19 September, and at Christie’s Hong Kong from 28 September - 3 October. Christie’s Global President, Jussi Pylkkanen, remarked, “Jacqueline was a beautiful woman and one of Picasso’s most elegant muses. This painting of Jacqueline hung in Picasso’s private collection for many years and has rarely been seen in public since 1954. It is a museum quality painting on the grand scale which will capture the imagination of the global art market when it is offered at Christie’s New York this November.” The brilliant primary colors in Femme accroupie (Jacqueline) illustrate a sunny day in the South of France during early autumn, 1954.
    [Show full text]
  • Page 355 H-France Review Vol. 9 (June 2009), No. 86 Peter Read, Picasso and Apollinaire
    H-France Review Volume 9 (2009) Page 355 H-France Review Vol. 9 (June 2009), No. 86 Peter Read, Picasso and Apollinaire: The Persistence of Memory (Ahmanson-Murphy Fine Arts Books). University of California Press: Berkeley, 2008. 334 pp. + illustrations. $49.95 (hb). ISBN 052-0243- 617. Review by John Finlay, Independent Scholar. Peter Read’s Picasso et Apollinaire: Métamorphoses de la memoire 1905/1973 was first published in France in 1995 and is now translated into English, revised, updated and developed incorporating the author’s most recent publications on both Picasso and Apollinaire. Picasso & Apollinaire: The Persistence of Memory also uses indispensable material drawn from pioneering studies on Picasso’s sculptures, sketchbooks and recent publications by eminent scholars such as Elizabeth Cowling, Anne Baldassari, Michael Fitzgerald, Christina Lichtenstern, William Rubin, John Richardson and Werner Spies as well as a number of other seminal texts for both art historian and student.[1] Although much of Apollinaire’s poetic and literary work has now been published in French it remains largely untranslated, and Read’s scholarly deciphering using the original texts is astonishing, daring and enlightening to the Picasso scholar and reader of the French language.[2] Divided into three parts and progressing chronologically through Picasso’s art and friendship with Apollinaire, the first section astutely analyses the early years from first encounters, Picasso’s portraits of Apollinaire, shared literary and artistic interests, the birth of Cubism, the poet’s writings on the artist, sketches, poems and “primitive art,” World War I, through to the final months before Apollinaire’s death from influenza on 9 November 1918.
    [Show full text]
  • Artist Resources – Pablo Picasso (Spanish, 1881-1973) Musée Picasso, Paris Picasso at Moma
    Artist Resources – Pablo Picasso (Spanish, 1881-1973) Musée Picasso, Paris Picasso at MoMA Picasso talks Communism, visual perception, and inspiration in this intimate interview at his home in Cannes in 1957. “My work is a constructive one. I am Building, not tearing down. What people call deformation in my work results from their own misapprehension. It's not a matter of deformation; it's a question of formation. My work oBeys laws I have spent my life in formulating and adhering to. EveryBody has a different idea of what constitutes reality and the suBstance of things….I set [oBjects] down in what my intellect tells me is the order and form in which they appear to me.” In these excerpts from 1943, from his Book, Conversations with Picasso, French photographer and sculpture Brassaï reflects candidly with his friend and contemporary aBout Building on the past, authenticity, and gathering inspiration from nature, history, and museums. “I thought I learned a lot from him. Mostly in terms of the way he worked, the concentration in which he worked, the unity of spirit in thinking in thinking aBout nothing else, giving everything away for that,” reflected Françoise Gilot in an interview with Charlie Rose in 1998. In 2019, she puBlished the groundBreaking memoir of her own life as an artist and her relationship with the untamaBle master, Life with Picasso. MoMA’s monumental 1996 exhiBition Picasso and Portraiture: Representation and Transformation emBarked on a Picasso in his Montmartre studio, 1908 tour of over 200 visual representations By the artist of his friends, family, and contemporaries.
    [Show full text]
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988
    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
    [Show full text]
  • Pablo Picasso - the Artist and His Muse
    Pablo Picasso - The Artist and His Muse Pablo Picasso defined Modern Art just as Einstein defined the word "scientist." Picasso was the ambassador of Cubism and Abstract Art. However, greater the fame he achieved with his brush, the more degenerate his relationships became. Pablo Picasso's art reflected all his failed relationships, infidelity, vengefulness and emotional sourness, which made him world famous. Pablo Picasso faced his first tragedy at the death of his sister, Conchita, when he was just seventeen. This left a very deep impression on him. Although Pablo was never as desperate as Goya or Van Gogh or Gauguin, he had his share of mistresses and lovers. Most of Pablo's relationships with them ended bitterly and many which started as a hero worship ended with the accusations of infidelity and abuse. This story repeated itself several times, as Picasso's art grew from Realism to Blue, Rose, Africanism, and Cubism. The funniest part was that, as Pablo Picasso seems to have "phases" in his art; his women also were "in phases." For every segment of his works, it is easy to recognize a different woman. Pablo Picasso's first long-term mistress was Fernande Olivier, who was a fellow artist of his. Olivier was the muse, who graced his "Rose" period works. The colors in Rose Phase Paintings were primarily bright Orange, and Pink. Happy characters such as, Circus Artisans and Harlequins graced Pablo Picasso's Canvas. It could be said that maybe the young Picasso was in love. However, as his art gained value, he left Olivier for Eva (Marcelle Humbart), now making her the queen of his "Cubist" works.
    [Show full text]
  • Concepts to Glass Realities 15 November 2000
    MILAN GLASS SYMPOSIUM CONCEPTS TO GLASS REALITIES 15 NOVEMBER 2000 IAN RITCHIE Introduction It has been suggested that my contribution to this symposium should cover recent developments in UK glass architecture. As a long introduction before addressing some recent examples in the UK, I would like to focus on the importance of conceptual thinking. Although I have a reputation for original thinking, and perhaps audacious glass structures, the essence of my architectural research is finding better ways of synthesizing space with materials, of which light is the most fundamental. Glass is an extraordinary material whose uses and manipulation by man seems inexhaustible from telling stories to making electricity. However, before I embark on the subject of glass, I would like to précis its place in architecture. Understanding the context is the first investigation of architecture. The context is both sensual and physical. It is concerned with people, with geology as the fundamental source of materials and the sites upon which we build, and light as the sublime material of architecture. Architectural investigations also take place within the context of an existing economic, political, social and industrial framework, which has to be understood in order to define potential and limits. These investigations have to take place recognizing both the need for a sense of freedom and a sense of discipline. A blank sheet paralyzes creativity. The context (or parts of it) acts as the conceptual trigger to creative freedom. The context imparts the discipline. Innovation in architecture works through the investigation of memory and the way buildings are constructed. Innovation occurs because of necessity, not for its own sake.
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Picasso Sculpture Pdf, Epub, Ebook
    PICASSO SCULPTURE PDF, EPUB, EBOOK Ann Temkin,Anne Umland | 320 pages | 24 Nov 2015 | MUSEUM OF MODERN ART | 9780870709746 | English | New York, United States Picasso Sculpture PDF Book Look carefully. After purchasing an estate in Boisgeloup in , Picasso set up a sculptor studio in a coach house. Picasso: My Grandfather. Madrid held many other attractions. And of every building inspector who took a wad from a slum owner to make it all possible Girl Before a Mirror. Paris: capital of the arts, — Wood, metal and plaster were used separately or in combination with each other. The first issue was published on 31 March , by which time the artist had started to sign his work Picasso. Cubism , Surrealism. Boston: Houghton Mifflin Harcourt. The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in Between and he wrote over poems. The public who look at the picture must interpret the symbols as they understand them. The 33 volumes cover the entire work from to , with close to 16, black and white photographs, in accord with the will of the artist. The first volume of the catalogue, Works from to , published in , entailed the financial ruin of Zervos, self- publishing under the name Cahiers d'art , forcing him to sell part of his art collection at auction to avoid bankruptcy. From Wikipedia, the free encyclopedia. The medium in which Picasso made his most important contribution was painting. Informed of this, Picasso offered three paintings and a sketch to the city and its museum and was later made an honorary citizen by the city.
    [Show full text]
  • Kunsthändler Und -Sammler Art Dealers and Collectors
    Kunsthändler und -sammler Art dealers and collectors Die Eigentümergeschichte der Kunstwerke aus dem Bestand des Museum Berggruen bildet das Leitmotiv der Ausstellung. Die Namen derer, die mit e history of ownership of the artworks from the collection of the Museum den Werken in Berührung kamen oder deren Eigentum sie waren, lesen sich Berggruen is the leitmotif of the exhibition. e names of those who came wie ein „Who is Who“ der Kunstwelt der ersten Häle des 20. Jahrhunderts: into contact with the works or who owned them read like a "Who's Who" of Kunsthändler wie Alfred Flechtheim, Paul Rosenberg, Daniel-Henry Kahn- the art world of the rst half of the 20th century: Art dealers such as Alfred weiler oder Karl Buchholz, die Klee-Enthusiastin Galka Scheyer sowie die Flechtheim, Paul Rosenberg, Daniel-Henry Kahnweiler or Karl Buchholz, Sammler Alphonse Kann, Douglas Cooper und Marie-Laure Comtesse the Klee-enthusiast Galka Scheyer as well as the art collectors Alphonse de Noailles. Kann, Douglas Cooper and Marie-Laure Comtesse de Noailles. Die Kunstwerke rufen damit nicht nur ihre Besitzer und Eigentümer in e artworks do not only remind us of their owners and proprietors, whose Erinnerung, deren Lebensgeschichte in historische Ereignisse eingebettet biographies is embedded in historical events. eir provenances also express ist. Ihre Provenienzen drücken auch die Vielfalt der emen aus, welche die the variety of themes that shape the history of 20th century art: the popula- Geschichte von Kunst im 20. Jahrhunderts prägen: die Popularisierung der risation of Modernism, the development of the international art market, the Moderne, die Entwicklung des internationalen Kunstmarktes, die Emigra- emigration of art dealers and collectors and the translocation of artworks, tion von Kunsthändlern und Sammlern und die Translokation von Kunst- the art policy and the art looting of the National Socialists between 1933 werken, die Kunstpolitik und der Kunstraub der Nationalsozialisten and 1945.
    [Show full text]
  • Picasso Et La Famille 27-09-2019 > 06-01-2020
    Picasso et la famille 27-09-2019 > 06-01-2020 1 Cette exposition est organisée par le Musée Sursock avec le soutien exceptionnel du Musée national Picasso-Paris dans le cadre de « Picasso-Méditerranée », et avec la collaboration du Ministère libanais de la Culture. Avec la généreuse contribution de Danièle Edgar de Picciotto et le soutien de Cyril Karaoglan. Commissaires de l’exposition : Camille Frasca et Yasmine Chemali Scénographie : Jacques Aboukhaled Graphisme de l’exposition : Mind the gap Éclairage : Joe Nacouzi Graphisme de la publication et photogravure : Mind the gap Impression : Byblos Printing Avec la contribution de : Tinol Picasso-Méditerranée, une initiative du Musée national Picasso-Paris « Picasso-Méditerranée » est une manifestation culturelle internationale qui se tient de 2017 à 2019. Plus de soixante-dix institutions ont imaginé ensemble une programmation autour de l’oeuvre « obstinément méditerranéenne » de Pablo Picasso. À l’initiative du Musée national Picasso-Paris, ce parcours dans la création de l’artiste et dans les lieux qui l’ont inspiré offre une expérience culturelle inédite, souhaitant resserrer les liens entre toutes les rives. Maternité, Mougins, 30 août 1971 Huile sur toile, 162 × 130 cm Musée national Picasso-Paris. Dation Pablo Picasso, 1979. MP226 © RMN-Grand Palais / Adrien Didierjean © Succession Picasso 2019 L’exposition Picasso et la famille explore les rapports de Pablo Picasso (1881-1973) à la notion de noyau familial, depuis la maternité jusqu’aux jeux enfantins, depuis l’image d’une intimité conceptuelle à l’expérience multiple d’une paternité sous les feux des projecteurs. Réunissant dessins, gravures, peintures et sculptures, l’exposition survole soixante-dix-sept ans de création, entre 1895 et 1972, au travers d’une sélection d’œuvres marquant des points d’orgue dans la longue vie familiale et sentimentale de l’artiste et dont la variété des formes illustre la réinvention constante du vocabulaire artistique de Picasso.
    [Show full text]
  • Fall/Winter 2018
    FALL/WINTER 2018 Yale Manguel Jackson Fagan Kastan Packing My Library Breakpoint Little History On Color 978-0-300-21933-3 978-0-300-17939-2 of Archeology 978-0-300-17187-7 $23.00 $26.00 978-0-300-22464-1 $28.00 $25.00 Moore Walker Faderman Jacoby Fabulous The Burning House Harvey Milk Why Baseball 978-0-300-20470-4 978-0-300-22398-9 978-0-300-22261-6 Matters $26.00 $30.00 $25.00 978-0-300-22427-6 $26.00 Boyer Dunn Brumwell Dal Pozzo Minds Make A Blueprint Turncoat Pasta for Societies for War 978-0-300-21099-6 Nightingales 978-0-300-22345-3 978-0-300-20353-0 $30.00 978-0-300-23288-2 $30.00 $25.00 $22.50 RECENT GENERAL INTEREST HIGHLIGHTS 1 General Interest COVER: From Desirable Body, page 29. General Interest 1 The Secret World Why is it important for policymakers to understand the history of intelligence? Because of what happens when they don’t! WWI was the first codebreaking war. But both Woodrow Wilson, the best educated president in U.S. history, and British The Secret World prime minister Herbert Asquith understood SIGINT A History of Intelligence (signal intelligence, or codebreaking) far less well than their eighteenth-century predecessors, George Christopher Andrew Washington and some leading British statesmen of the era. Had they learned from past experience, they would have made far fewer mistakes. Asquith only bothered to The first-ever detailed, comprehensive history Author photograph © Justine Stoddart. look at one intercepted telegram. It never occurred to of intelligence, from Moses and Sun Tzu to the A conversation Wilson that the British were breaking his codes.
    [Show full text]
  • Museum Berggruen Di Benedetta Baldessarelli E Margherita Savino Indice
    Museum Berggruen di Benedetta Baldessarelli e Margherita Savino Indice • Heinz Berggruen (1914 -2007) • L’Edificio e i recenti restauri • La collezione • 1. “Picasso ed il suo tempo dal 1897 al 1972” • 2. L’organizzazione • 3. Gli altri artisti e Picasso • Confronti • Osservazioni Heinz Berggruen (1914 Berlino -2007 Berlino) Heinz Berggruen con il dipinto di Pablo Picasso “Large Reclining Nude” del 1942 (il dipinto è esposto al primo piano del museo) Cenni biografici • Mercante d'arte e collezionista • In America, l’uomo – di genitori ebrei – si era rifugiato nel 1936 per sottrarsi al regime nazista. • Arrivò nel 1947 a Parigi, dove aprì la sua prima galleria d'arte. Nella capitale francese diventò famoso grazie alla sua professione di gallerista e alla sua amicizia con Pablo Picasso. • Nel 1980, decise di abbandonare la direzione della rinomata Paris Gallery per dedicarsi soltanto all’acquisto di opere. • Dopo la morte (2007) i suoi quattro figli e la moglie Bettina annunciano la loro intenzione di supportare il museo. “Il primo quadro che ho acquistato in vita mia fu un lavoro di Paul Klee – racconta H. Berggruen, “avevo 25 anni ed ero in viaggio di nozze da San Francisco a New York… A Chicago mi offrirono un acquerello del grande pittore…Era intitolato Perspektiv Spuk (Fantasma), era di piccole dimensioni, del 1920 e lo pagai 200 dollari, e per me fu l’inizio di una storia d’amore. Paul Klee, Perspektiv Spuk (1920) L’Edificio e i recenti restauri Il Palazzo Stueler, che ospita la collezione Berggruen, si trova nel quartiere di Charlottenburg (di fronte al castello), nella zona Ovest di Berlino.
    [Show full text]