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List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Self-portrait Date: 1918-1920 Medium: Graphite on watermarked laid paper (with LI countermark) Size: 32 x 21.5 cm Accession: n°00776 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object has a complete provenance for the years 1933-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Mother with a Child Sitting on her Lap Date: December 1947 Medium: Pastel and graphite on Arches-like vellum (with irregular pattern). Invitation card printed on the back Size: 13.8 x 10 cm Accession: n°11684 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; Estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object was made post-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Little Girl Date: December 1947 Medium: Pastel and graphite on Arches-like vellum. -
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. -
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. -
3"T *T CONVERSATIONS with the MASTER: PICASSO's DIALOGUES
3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 N VM*B McKinzey, Joan C., Conversations with the master: Picasso's dialogues with Velazquez. Master of Arts (Art History), August 1997,177 pp., 112 illustrations, 63 titles. This thesis investigates the significance of Pablo Picasso's lifelong appropriation of formal elements from paintings by Diego Velazquez. Selected paintings and drawings by Picasso are examined and shown to refer to works by the seventeenth-century Spanish master. Throughout his career Picasso was influenced by Velazquez, as is demonstrated by analysis of works from the Blue and Rose periods, portraits of his children, wives and mistresses, and the musketeers of his last years. Picasso's masterwork of High Analytical Cubism, Man with a Pipe (Fort Worth, Texas, Kimbell Art Museum), is shown to contain references to Velazquez's masterpiece Las Meninas (Madrid, Prado). 3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 ACKNOWLEDGMENTS The author would like to acknowledge Kurt Bakken for his artist's eye and for his kind permission to develop his original insight into a thesis. -
Synthetic Cubism at War: New Necessities, New Challenges
RIHA Journal 0250 | 02 September 2020 Synthetic Cubism at War: New Necessities, New Challenges. Concerning the Consequences of the Great War in the Elaboration of a Synthetic-Cubist Syntax Belén Atencia Conde-Pumpido Abstract When we talk about the Synthetic Cubism period, what exactly are we referring to? What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? To what extent did the disorder that the Great War unleashed, with all its political, sociological and moral demands, influence the reformulation of a purely synthetic syntax? This article attempts to answer these and other questions relating to the sociological-aesthetic interferences that would influence the Parisian Cubist style of the war years, and in particular the works of Juan Gris, María Blanchard, Jacques Lipchitz and Jean Metzinger during the spring and summer that they shared with one another in 1918, until it consolidated into what we now know as Crystal Cubism. Contents Cubism and war. The beginning of the end or infinite renewal? At a crossroads: tradition, figuration, synthesis and abstraction The Beaulieu group, the purification of shape and the crystallization of Cubism in 1918 and 1919 Epilogue Cubism and war. The beginning of the end or infinite renewal? [1] The exhibition "Cubism and War: the Crystal in the Flame", held in the Picasso Museum in Barcelona in 2016,1 highlighted the renewed production undertaken in Paris during the war years by a small circle of artists who succeeded in taking Synthetic Cubism to its ultimate consequences. 1 Cubism and War: the Crystal in the Flame, ed. -
Picasso, Theatre and the Monument to Apollinaire
PICASSO, THEATRE AND THE MONUMENT TO APOLLINAIRE John Finlay • Colloque Picasso Sculptures • 24 mars 2016 n his programme note for Parade (1917), Guil- Ilaume Apollinaire made special mention of “the fantastic constructions representing the gigantic and surprising figures of the Managers” (fig. 1). The poet reflected, “Picasso’s Cubist costumes and scenery bear tall superstructures knowingly created a conflict witness to the realism of his art. This realism—or Cub- between the vitality of dance and the immobility of ism, if you will—is the influence that has most stirred more grounded sculptures. As a practical and sym- the arts over the past ten years.”1 Apollinaire’s note bolic feature, the Managers anticipate certain aspects acknowledges a number of important things regard- of Picasso’s later sculpture. ing Picasso’s new theatrical venture. Most notable is The decors for the ballet (1924) were equally “sur- his recognition that the Managers are not costumes real”, contemporary forms of sculpture. Picasso made in the traditional sense, but three-dimensional in allowance for mobility in his set designs by enabling conception, and linked with his earlier Cubist work. the assembled stage props (even the stars) to move In describing the Managers as “construction”, Apol- in time to the music, the dancers manipulating them linaire was perhaps thinking of Picasso’s satirical Gui- like secateurs. For the Three Graces, Picasso created tar Player at a Café Table (fig. 2). The assemblage ran wickerwork constructions manipulated like puppets the gamut from a Cubist painting on a flat surface, by wires. The “practicables” were similar to telephone showing a harlequin with pasted paper arms, to a extension cables that expanded and contracted as real guitar suspended from strings, to a still life on a their heads bounced up and down. -
Les Demoiselles D'avignon (1). Exposition, Paris, Musée Picasso, 26 Janvier-18 Avril 1988
3 Paris, Musée Picasso 26 janvier - 18 avril 1988 Ministère de la Culture et de la Communication Editions de la Réunion des musées nationaux Paris 1988 Cette exposition a été organisée par la Réunion des musées nationaux et le Musée Picasso. Elle a bénéficié du soutien d'==^=~ = L'exposition sera présentée également à Barcelone, Museu Picasso, du 10 mai au 14 juillet 1988. Couverture : Les Demoiselles d'Avignon, 1907 (détail), New York, The Museum of Modern Art, acquis grâce au legs Lillie P. Bliss, 1939. e The Museum of Modern Art, New York, 1988. ISBN 2-7118-2.160-9 (édition complète) ISBN 2-7118-2.176-5 (volume 1) @ Spadem, Paris, 1988. e Editions de la Réunion des musées nationaux, Paris, 1988. Commissaire Hélène Seckel conservateur au Musée Picasso 1 Citée dans le livre de François Chapon, Mystère et splendeurs de Jacques Doucet, Paris, J.-C. Lattès, 1984, p. 278. Ceci à propos du manuscrit de Charmes que possédait Jacques Doucet, dont il demande à Valéry quelques lignes propres à jeter sur cette oeuvre « des clartés authentiques ». 2 Christian Zervos, « Conversation avec Picasso », Cahiers d'art, tiré à part du vol. X, n° 7-10, 1936, p. 42. 3 Archives du MoMA, Alfred Barr Papers. 4 Bibliothèque littéraire Jacques Doucet. « Le goût que nous avons pour les choses de l'esprit s'accompagne presque néces- sairement d'une curiosité passionnée des circonstances de leur formation. Plus nous chérissons quelque créature de l'art, plus nous désirons d'en connaître les ori- gines, les prémisses, et le berceau qui, malheureusement, n'est pas toujours un bocage du Paradis Terrestre ». -
Pablo Picasso
Pablo Picasso 20 Years in the Evolution of Picasso 1903-1923 New York: Jacques Seligmann & Co., Inc., 1937 [un-paginated, illus., paper-bound] $20.00 5.11.70 13.11.70 5.11.70 13.11.70 Croquis Dessin New York: Mitchell-Innes & Nash, 2004 [88 p, illus., hardcover] $40.00 A Pablo Picasso Eluard, Paul London: Secker & Warburg, 1947 [168 p, illus., paper-bound, in French] $23.00 The Architecture of the Museo Picasso Málaga from the Sixth Century BC to the Twenty-First Century Giménez, Carmen Museo Picasso Malaga [un-paginated, illus., hardcover, DJ] $30.00 Arlequin con espejo y La flauta de Pan, Picasso 1923 Serra, Tomas Llorens et al. Madrid: Colleción Thyssen-Bornemisza, 1995 [79 p, illus., hardcover, DJ, in Spanish] $35.00 Besuche bei Picasso Rosengart, Siegfried & Angela (photos) Luzerne: Galerie Rosengart, 1972 [un-paginated, illus., paper-bound, in German] (2) $30.00 Buste de Femme by Pablo Picasso New York: M. Knoedler & Company [un-paginated, information in leather case] $30.00 Children’s Hommage to Picasso, with 52 drawings by Picasso and 48 drawings by the children of Vallauris Batterberry, Michael & Ariane Ruskin New York: Harry N. Abrams, Inc., 1970 [un-paginated, illus., hardcover, plastic jacket] $50.00 Contacting Pablo Picasso: The Influence of Picasso on American Printmakers, Prints from the collection of Reba and Dave Williams Williams, Reba & Save New York: The Spanish Institute, 1995 [un-paginated, pamphlet] $5.00 Les Demoiselles d’Avignon Rubin, William, Helene Seckel, Judith Cousins New York: The Museum of Modern Art, 1994 [279 p, illus., hardcover, DJ] $40.00 Les Demoiselles d’Avignon Guide de l’Exposition Musee Picasso Paris [14 p, illus., pamphlet, in French] $8.00 De Picasso à Barceló: les Artistes Espagnols De Castro, Maria Antonia & Francois Boisivon trans. -
Museums ÍN 06 Museo Picasso Málaga 58 Ars Málaga
city of museums ÍN 06 Museo Picasso Málaga 58 Ars Málaga. Bishop’s Palace 10 Centre Pompidou Málaga 60 Semana Santa de Málaga Museum DEX 14 CAC Málaga (Centre of Contemporary Art of Málaga) 62 Principia. Centre of Science 18 Collection of the Russian Museum, Saint Petersburg/Málaga 63 Eco-museum Lagar de Torrijos 22 Carmen Thyssen Museum Málaga 64 National Museum of Airports & Air Transport 26 Automobile Museum of Málaga 65 Antonio Ordóñez Bullfighting Museum 30 Picasso Foundation. Birthplace House & Museum 66 Museum of Flamenco Art. Peña Juan Breva 34 Museum of Municipal Patrimony. MUPAM 67 Centre of Interpretation of The Roman Theatre 38 Cathedral Museum 68 Centre of Interpretation of the Castle of Gibralfaro 40 Glass & Crystal Museum of Málaga 69 Archeological Exhibition Hall of the Alcazaba 42 Revello de Toro Museum 70 Archeological Sites of La Araña 44 Gerald Brenan House 71 Cofradía del Santo Sepulcro Museum 46 Museum Unicaja of Popular Arts & Customs 72 Cofradía de los Estudiantes Museum 48 Wine Museum of Málaga 73 Tesoro de la Cofradía de la Expiración Museum 50 Alborania Museum. Hall of the Sea 74 Archicofradía de la Esperanza Museum 52 Interactive Museum of the Music of Málaga. MIMMA 75 El Cautivo y la Trinidad Museum 54 Museum & Tour Málaga Football Club 76 Santa María de la Victoria Museum & Basilica 56 Museum Jorge Rando Welcome to the city of museums. Without doubt, Málaga is the most dynamic city in the current Spanish cultural scene. We are deep in projects of great ambition that ranks Málaga in first position and that are example of collaboration among Spain, France and Russia on cultural matters. -
Expo-En-Poche.Pdf
MUSÉE DES BEAUX-ARTS DE LYON 20, place des Terreaux I 69001 Lyon 33 (0)4 72 10 17 40 I www.mba-lyon.fr Cette nouvelle présentation du fonds d’art moderne du musée des Beaux-Arts de Lyon illustre quelques-uns des grands mouvements artistiques du 20e siècle. Elle permet aussi de découvrir des figures essentielles restées en marge de ces courants. Sans la générosité des artistes, des collectionneurs et des donateurs, cette collection n’aurait pu être réunie. L’exemple du legs exceptionnel de Jacqueline Delubac en 1997 en est l’un des symboles les plus forts. L’action des conservateurs, des critiques et des galeristes, à Lyon, a permis au musée d’être une institution majeure en France, pour l’art du 20e siècle. Cette nouvelle présentation est, à la fois, un hommage à ces passions et un bilan des politiques d’acquisition successives rendues possibles grâce à l’engagement de la Ville de Lyon, de la Région Rhône-Alpes et de l’État, ainsi que des mécènes. Elle se propose d’offrir au visiteur une réflexion sur un siècle de Présentation de l’exposition Présentation création désormais achevé. Un siècle qui reste, comme en témoignent les thèmes qui rythment le parcours, un laboratoire pour la création d’aujourd’hui. L’achat L’achat est le mode le plus fréquent d’enrichissement des collections d’un musée. Il est rendu possible grâce au budget annuel alloué par la Ville de Lyon, aux subventions de l’État, de la Région Rhône-Alpes (dans le cadre du Fonds Régional d’Acquisition des Musées - FRAM), et au concours d’entreprises ou de particuliers. -
A Lot of Bull? Pablo Picasso and Ice Age Cave Art
MUNIBE (Antropologia-Arkeologia) 57 Homenaje a Jesús Altuna 217-223 SAN SEBASTIAN 2005 ISSN 1132-2217 A Lot of Bull? Pablo Picasso and Ice Age cave art Pablo Picasso y el arte rupestre paleolítico KEY WORDS: Picasso, cave art, palaeolithic art, Lascaux, Altamira, Lespugue. PALABRAS CLAVE: Picasso, arte rupestre, Arte Paleolítico, Lascaux, Altamira, Lespugue. Paul BAHN* ABSTRACT Many claims have been made, and continue to be made, concerning PICASSO’s reaction to Ice Age cave art — in particular, it is said that he visited either Altamira or Lascaux, and declared that “we have invented nothing” or that ”none of us can paint like this”. The paper investigates these claims, and finds that they have absolutely no basis in fact. PICASSO was minimally influenced by Ice Age art and expressed little interest in it. RESUMEN Se ha hablado mucho, y se sigue hablando, sobre la reacción de PICASSO ante el arte del período glaciar; en particular se dice que visitó Altamira o Lascaux y declaró: “no hemos inventado nada” o, “ninguno de nosotros puede pintar así.” Este artículo investiga esas supuestas reacciones y concluye que no se basan en absoluto en hechos. A PICASSO le influyó muy poco el arte glaciar y expresó muy poco interés por él. LABURPENA Asko hitz egin da, eta oraindik ere hitz egiten da, glaziare aldiko artea ikustean PICASSOk egin zituen adierazpenei buruz. Esaten da Altamira eta Lascaux koba-zuloak ikusi zituenean zera adierazi zuela: “ez dugu ezer asmatu” eta baita “gutariko inork ezin du horrela pintatu”. Artikulu honetan PICASSOk egin omen zituen adierazpen horiek ikertu dira eta ondorioztatu, adierazpen horiek ez direla gertaera jakin batzuetan oinarri- turik egin. -
Dossier De Presse
DOSSIER DE PRESSE EXPOSITION DU 2 DÉC. 2017 AU 5 MARS 2018 LOS MODERNOS, dialogues France / Mexique exposition du 2 décembre 2017 au 5 mars 2018 organisée en partenariat avec le Museo Nacional de Arte (MUNAL) / INBA de Mexico Commissariat : Sylvie Ramond Conservateur en chef du patrimoine, directeur du musée des Beaux-Arts de Lyon, professeur associé à l’ENS de Lyon assistée de : Anouck Luquet avec la collaboration de : María Estela Duarte, Ariadna Patino Guadarrama, ainsi que Sharon Jazzán Dayán et Alivé Piliado Santana Museo Nacional de Arte / INBA de Mexico Co-commissariat : Serge Fauchereau Historien d’art et de littérature Co-commissariat pour les sections : Surréalismes : Philippe Dagen Professeur d’histoire de l’art contemporain à l’Université Paris I Panthéon-Sorbonne Photographie : Jacques Damez Photographe et co-directeur de la galerie Le Réverbère en écho à l’exposition, la galerie Le Réverbère (38 rue Burdeau, 69001 Lyon) présente l’exposition photo Mexique, aller-retour, du 2 décembre 2017 au 3 mars 2018. Scénographie : Jean-Claude Goepp Graphisme de l’exposition : Zigzagone en couverture : Frida Kahlo, Autoportrait à la frontière entre le Mexique et les États-Unis (détail), 1932 © 2017 Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris. Photo © Christie’s Images / Bridgeman Images. L’EXPOSITION 4 SECTIONS DE L’EXPOSITION 6 CHRONOLOGIE 16 ŒUVRES PRÉSENTÉES DANS L’EXPOSITION 18 PRÊTEURS, INSTITUTIONS ET COLLECTIONNEURS PRIVÉS 26 CATALOGUE DE L’EXPOSITION 26 ACTIVITÉS AUTOUR DE L’EXPOSITION 27 GALERIE LE RÉVERBÈRE : EXPOSITION PHOTO MEXIQUE, ALLER-RETOUR 28 TOTAL : MÉCÈNE DE L’EXPOSITION 29 INFORMATIONS PRATIQUES 30 LOS MODERNOS DIALOGUES FRANCE / MEXIQUE exposition du 2 décembre 2017 au 5 mars 2018 L’exposition Los Modernos.