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Vñ ¿Bjoltv PICASSO and the Weeping Women: the Years of Marie-Thérèse Walter and Dora Maar

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Vñ ¿Bjoltv PICASSO and the Weeping Women: the Years of Marie-Thérèse Walter and Dora Maar Vñ ¿bJoLtv PICASSO and the Weeping Women: The Years of Marie-Thérèse Walter and Dora Maar June 12 - September 4,1994 • The Metropolitan Museum of Art The exhibition is made possible by Pai ne Webber. Transportation assistance for the exhibition is provided by United Airlines. The exhibition is supported by an indemnity from the Federal Council on the Aits and the Humanities. The exhibition was organized in Los Angeles by the Los Angeles County Museum of Art. The exhibition has been adapted for New York by The Metropolitan Museum of Art. icasso was the most prolific artist of our time. Much of his art directly relates to his personal life; his paintings, prints, and drawings present a visual autobiography rich in incident which 'rs on occasion raised to P allegory. The female figure and face are as central to Picasso's art as they were necessary to his physical existence. Beginning with Fernande Olivier, whom he met in 1904 when he was twenty-three, and ending with Jacqueline Roque, whom he met in 1953 when he was seventy-two, his most constant subjects were the women that he successively possessed—mistresses, consorts, and two wives. Each offered fresh inspiration to his art, each reaffirmed his dominating vigor. Rapture, however, was often followed by anguish and despair. The present exhibition focuses upon Picasso in the years from 1927 to 1943, and three women are its subject. Olga Koklova, a Russian dancer, was Picasso's first wife. They met in 1917 and were married a year later. He was thirty-six, she twenty-seven. Their son, Paulo, Picasso's first child, was born in 1921. As her classic beauty faded, Olga's erratic disposition increased. Vain and vapid, she was easily bored. She was also socially pretentious, and she became a shrew. By 1927 their marriage had deteriorated. The monstrous screaming female heads that Picasso painted between 1927 and 1930 reflect the increasing and violent tensions of their alienation. In 1927, when he was forty-five, Picasso found Marie-Thérèse Walter, a French schoolgirl just seventeen years old. She became his mistress, and their daughter, Maya, his second child, was born in 1935. Young Marie-Thérèse was acquiescent and unworldly. She offered calm as well as ecstasy. No other woman is more intricately woven into the fabric of his art, and she was never painted as distressed. In retrospect their relationship seems the happiest and the least public of his amatory alliances. In 1936 Picasso met Dora Maar (Theodora Markovitch), who became his con­ sort. He was fifty-four, she twenty-eight. Born in Paris of a French mother and a Croatian father, she had been raised in the Argentine and spoke fluent Spanish. None of his previous companions had been as intellectually alert. Stylish and sophisticated, she was also highly strung. Like Picasso, she was a compulsive smoker. Make-up accented her striking features, and her first likenesses by Picasso depict her attractive face. Dora Maar, then a photographer, recorded the development of Picasso's great mural Guernica (1937) at several stages. Although she does not appear in the painting itself, the features of the weeping women in Guernica's commentaries and postscripts are based on hers. For the next half- dozen years she continued to be featured in his art. She can be easily identified, but sometimes Picasso's transformations of her face and figure seem grotesque. In a heroic bronze and a painting, perhaps the most expressive of his portraits, Picasso presents her likeness finally in a more realistic style (1941-42). The exhibition begins with a prologue that shows Olga as Picasso first loved her. These portraits are followed by several paintings of the screaming head (1927-30). His rapturous, sometimes concealed relationship with Marie-Thérèse is shown in paintings, drawings, lithographs, etchings, and one bronze (1927-37). His earliest portraits of Dora are a drawing, two drypoints, and two photograms (1936). In 1937, with the Spanish Civil War and his mural Guernica, the female wartime victim was his principal female subject. This "Weeping Woman" is shown in seven paintings, seven drawings, and two etchings (1937). After Guernica, which he completed in early June 1937, Picasso seldom portrayed Dora Maar as handsome as she was. And also after Guernica he seldom portrayed Marie-Thérèse, the recent mother of his second child, with the tenderness of their first years together. Given the awkward simultaneity of these two relationships, it is not surprising that Picasso sometimes compared and combined the features of both women. Such an exchange appears in several paintings (1936-39). The exhibition's epilogue consists of subsequent likenesses of Dora, including paintings, drawings, etchings, aquatints, and one bronze (1 937-42). When Picasso died on April 8, 1973, he was ninety-one years old. He had had one other consort, Françoise Gilot, the painter and the mother of his second son and daughter, and one other wife, Jacqueline Roque, who, like Marie-Thérèse, committed suicide. More than any other artist of our time, Picasso's changing vision determined the course of twentieth-century art. William S. Lieberman Jacques and Natasha Gelman Chairman, 20th Century Art CHECKLIST In this checklist each work is identified by title, place and date of execution when known, medium, and owner. Dimensions are expressed in inches and centimeters, and height precedes width. Works marked with an asterisk (*) are reproduced in this publication. References are made to the following definitive catalogues: Z Christian Zervos. Pablo Picasso: Oeuvres. Paris, 1932-78. Thirty-three-volume catalogue of paintings and drawings G Bernard Geiser. Picasso: Peintre-Graveur. Vol. 1 : Bern, 1990 (revised edition with corrections and additions by Brigitte Baer). Vol. 2: Bern, 1968. First two volumes of three-volume catalogue of prints BB Brigitte Baer. Picasso: Peintre-Graveur. Vol. 3: Bern, 1985. Third volume of three-volume catalogue of prints S Werner Spies. Picasso: Das plastische Werk. Stuttgart, 1983. Catalogue of sculpture PROLOGUE: OLGA PICASSO (1920-23) * 1. Olga Picasso 4. Olga and Paulo Picasso Juan-les-Pins Diñara Summer 1920 Summer 1922 Pen and ink on paper Etching on paper 3 145/8 x 63/8 inches (37.1 x 16.2 cm) 5 /8 x 5 inches (13.8x12.8 cm) Courtesy Matthew Marks Gallery, New York The Metropolitan Museum of Art, Not in Zervos Gift of Mr. Isidore M. Cohen, 1983 1983.1212.3 * 2. Olga Picasso G i 67 Juan-les-Pins Summer 1920 5. Woman in White Pencil on paper Paris 2472 x 18 inches (62.2 x 45.7 cm) 1923 Courtesy Matthew Marks Gallery, New York Oil on canvas Not in Zervos 39 x 31/2 inches (99.1 x 80 cm) The Metropolitan Museum of Art, * 3. Olga Picasso Rogers Fund, 1951; acquired from Juan-les-Pins The Museum of Modem Art, Lillie P. Bliss Summer 1920 Collection 53.140.4 Drypoint on paper ZV 1 57/8 x 378 inches (14.9 x 9.9 cm) The Metropolitan Museum or Art, Gift of Mr. Isidore M. Cohen, 1983 1983.1212.2 G I 57 THE SCREAMING HEAD (1927-30) 9. Head on a Red Background 1928 Charcoal and oil on canvas 25'/2 x 18/8 inches (64.8 x 46 cm) Quintana Fine Art, New York ZVII 128 '10. The Studio: Portrait Profile and Sculpted Head Paris 1928-29 Oil on canvas 633/4 x 51 VA inches (162 x 130 cm) Musée Picasso, Paris, on deposit at Musée National d'Art Moderne, Centre Georges Pompidou MPl 11 Not in Zervos 10 '6. Portrait Profile and Harlequin 11. Woman in a Red Armchair Spring 1927 1929 Oil on canvas Oil on canvas 3P/4 x 25/2 inches (80.6 x 64.8 cm) 25^8 x 21/4 inches (65 x 54 am) Mr. and Mrs. Klaus G. Perls, New York The Menil Collection, Houston Z VII 80 Z VII 294 7. Seated Woman 12. Bust of a Woman Cannes Paris Summer 1927 February 1929 Oil on canvas Oil on canvas 59 x 43/4 inches (150 x 285/8 x 195/8 inches (72.7 x 49.8 cm) Private Collection Private Collection, New York ZVII 67 Z VII 247 8. Head of a Woman 13. Woman Standing by the Sea 1927 7 April 1929 Oil on canvas Oil on canvas 213/4 x 13/4 inches (55.3 x 33.7 cm) 51 x 38/4 inches 129.5 x 97.2 cm) The Jacques and Natasha Gelman Private Collection Collection Z VII 252 ZVII 119 MARIE-THERESE WALTER (1927-37) 21 14. Portrait Profile and Guitar 17. Head of a Woman Paris Boisgeloup April 1927 Spring 1931 Oil on canvas Bronze 10/2 x 13/8 inches (27.8 x 34.5 cm) 34 x 143/8 x 19/4 inches Mrs. James W. Alsdorf (86.3 x 36.5 x 48.9 cm) Z VII 54 From the Patsy R. and Raymond D. Nasher Collection 15. Marie-Thérèse S 132 Paris October 1927 18. The Red Armchair Lithograph on paper Paris 8 x 5/8 inches (20.4 x 14.2 cm) 16 December 1931 The Art Institute of Chicago, Oil and enamel on plywood Gift of Walter S. Brewster 51 /2 x 39 inches (130.8 x 99 cm) G I 243 The Art Institute of Chicago, Gift of Mr. and Mrs. Daniel Saidenberg 16. Marie-Thérèse Z VII 334 Paris 1928 Lithograph with scraper on paper 83/4 x 63/4 inches (22 x 17 cm) Marina Picasso Collection (Inv. 45994), Courtesy Jan Krugier Gallery, New York Gl 244 34 19.
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