MUSEUM MAP WELCOME TO THE MUSÉE NATIONAL PICASSO-PARIS FLOOR PAGES -1 THE STUDIOS 3/4 EXIT 0 CAFETERIA SHO P PICASSO GRAND TOUR 5 PICASSO GRAND TOUR 6 PICASSO GRAND TOUR 7 1 PICASSO GRAND TOUR 8 2 PICASSO GRAND TOUR 9/11 The Hôtel Salé was built between 1656 and 1660 by architect Jean Boullier of PICASSO GRAND TOUR 10 Bourges. It owes its name (‘salty’) to its first owner, Pierre Aubert de Fontenay, PICASSO GRAND TOUR 12 a financier who was appointed “fermier général des gabelles” responsible for th th collecting the salt tax. From the 18 to the mid-20 century, the mansion had a 3 DIALOGUES, 13 number of occupants and was rented to various private individuals and institutions THE PRIVATE COLLECTION until its allocation as museum. In 1964, the City of Paris bought the building, which was subsequently declared a historic monument in 1968. Between 1979 and 1985, the Hôtel was renovated, restructured and refurbished by Roland Simounet to house the collections of the future museum. After 25 years of operation, the museum closed for a programme of renovation, modernisation, restoration and expansion led by Jean-François Bodin and, for the listed part of the Hôtel Salé, by Stéphane Thouin, chief architect for the state’s historical monuments. It reopened on 25 October 2014. LEVEL LEVEL THE STUDIOS -1 THE STUDIOS -1 -1.4 -1.3 -1.2 -1.4 -1.3 -1.2 -1.5 -1.6 -1.1 -1.5 -1.6 -1.1 -1.7 -1.7 Entrance Entrance ROOM -1.1 ROOM -1.2 ROOM -1.3 ROOMS -1.4 and -1.5 ROOM -1.6 Le Bateau-Lavoir The apartment-studio The Parisian After a few years Displayed around at Montmartre is at 23 rue La Boétie studio at 7 rue des spent at the villa of the press used by without a doubt the in Paris had the Grands-Augustins La Californie in Cannes, Picasso at the villa most famous of the advantage of being is emblematic of and successively of La Californie is a Cubist studios, but located at the heart Picasso’s work during at the château de selection of prints not the only one. of a road that was the war years. It was Vauvenargues, Picasso that reveals both the In both France and dedicated at the time here that, among had his last home at variety of ways Picasso Spain, a number of to the display and other works, he Mougins, in the mas chose to depict a studios provided sale of art. Both this created Guernica, (farmhouse) of Notre- scene and his technical the venue for one or studio and the Norman photographed by Dora Dame-de-Vie. skill in mastering all more essential steps château of Boisgeloup Maar (1937). Shortly the various forms of in the development were photographed by after the war, the artist printmaking as an art. of Cubism, and were Brassaï. left for the South documented by of France, where he Picasso himself in his dedicated himself to photographs. his ceramic work. 3 4 LEVEL LEVEL PICASSO GRAND TOUR 0 PICASSO GRAND TOUR 0 0.6 0.6 0.3 0.3 0.5 0.4 0.2 0.5 0.4 0.2 0.1 0.1 Exit Entrance Exit Entrance ROOM 0.1 ROOM 0.2 ROOM 0.3 ROOM 0.4 ROOM 0.5 Born in Malaga in 1881, This theme room A selection of female The creative process The influence of Paul Picasso initially lived dedicated to male figures traces Picasso’s underlying the Cézanne, who died in and studied in Spain, portraits gives a sense development from development of the 1906, can be felt in the absorbing the work of of the richness of 1895 to 1931. His early Demoiselles d’Avignon, early trials of the Cubist the great Spanish Picasso’s creativity, years of learning gave 1907 (New York, The movement, at this time painters of the 17th from the beginning of way to his highly Museum of Modern Art), marked by a stylization century, the Golden his career, with personal “blue” art, a masterpiece of of forms to geometric Century (Vélasquez, Self-portrait, 1901 to imbued with a sense modern art, is revealed shapes and an evident Murillo) Man with a the last years of his life for social destitution here through a use of coloured hatching cap, 1895 before and work, as typified La Celestina, 1904 and remarkable group of Lansdcape with two exploring, first in by The Young Painter, then to the slender studies. figures, 1908. Barcelona and then in 1972. silhouettes of his pink This formal research Paris, the lively, period Seated nude, was effected not only in colourful and expressive 1905. Picasso’s painting but in sculpture touch of the modern approach to sculpture too Head of a woman post-impressionist also evolved in these (Fernande), 1906 Head painters: Van Gogh, years, as evoked by the of a woman (Fernande) Cézanne, Toulouse- small figures modelled 1909. Lautrec, etc. The in the 1900s et 1930s. Death of Casagemas, 1901 Portrait of Gustave Coquiot, 1901. 5 6 LEVEL LEVEL PICASSO GRAND TOUR 0 PICASSO GRAND TOUR 1 0.6 1.4 0.3 1.7 0.5 0.4 0.2 1.3 1.5 1.6 0.1 1.2 1.1 Exit Entrance 1.8 ROOM 0.6 ROOM 1.1 ROOMS 1.2, 1.3 and 1.4 ROOMS 1.5 and 1.6 The desire to break free of a simple imitation Experimenting with At the end of the Great War (1914-1918) and His explorative work of reality led Picasso and his travelling collage quickly and after his trips to Italy (1917), Picasso returned to continued in the 1930s in companion, Georges Braque (1882-1963), to naturally led Picasso to a classic manner, marked by a clear and pure the vast spaces of the develop an analytical form of painting, in abandon the flat surface in line: these were the years of “modern château de Boisgeloup, which the identification of the subject required favour of greater relief: classicism” and a fascination with masters such where Picasso was able to active participation on the part of the from relief-paintings to as Ingres (1780-1867) and Le Nain (circa work on large formats. The observer. By 1910, the two artists were assemblages. The cubist 1593-1648) Portrait of Olga in an armchair, 1918 volumes of the female multiplying the points of view of the same musical instruments Le Retour du baptême, after Le Nain, 1917. An figure gained in roundness subject and presenting them all back on the Guitar and bottle of Bass, example of the formal production of this period, and were deconstructed same plane, that of the canvas itself, in a denial 1913 resonate with the Studies, 1920-1922 reveals the coexistence of a into masterly sets of curves of perspective Man with Guitar, 1911. The guitars of the surrealist cubist approach with a fascination for Mannerist and counter-curves exciting results of this experiment led them in period Guitar, 1926. art of the Renaissance, discovered by Picasso at Female bust, 1931 1912 to make a symbolic gesture that was the château de Fontainebleau in 1921. Antiquity, Reclining nude, 1932. emblematic of the synthetic phase of cubism: another source of inspiration, filled his works The metamorphosis of the collage of a piece of reality pasted on the with mythological or atemporal figures of a forms also continued within canvas Still Life with cane chair, 1912. More massive, sculptural volume Two Women the favourable context of than a trompe-l’œil (fool the eye), the work of running on the beach (The Race), 1922. surrealism with assemblage art became a “trompe-l’esprit” (fool the mind). At the same time, the artist was developing a sculptures, made in part return to the essential value of line Painter with using found objects palette and easel, 1928 Figure (Project for a Woman with orange, monument to Apollinaire), 1928. 1934-1943. 7 8 LEVEL LEVEL PICASSO GRAND TOUR 1 PICASSO GRAND TOUR 2 1.4 2.5 1.7 1.3 1.5 1.6 2.6 2.7 2.8 2.3 1.2 1.1 2.4 2.2 22..11 1.8 ROOMS 1.7 and 1.8 ROOM 2.1 1937: Picasso moved into a new studio in rue Initiated into the corrida by his father, throughout his des Grands-Augustins in Paris. Here, for ten life Picasso harboured a passion for bullfighting. After years he responded to the violent events moving to the South of France in 1948, he became a shaking the world, from the Spanish Civil War regular visitor to the bullfighting arenas of Arles. The to the Second World War. It was in these high artist produced a multitude of works showing the ever- rooms that he painted Guernica (Madrid, renewed relations between picador, horse and bull Museo Nacional Centro de Arte Reina Sofia), Corrida, 1922. The bull is such an important feature of in response to the bombing of that town by his work that it is not rare to find it appearing as the the Francoists. Its enormous size is echoed in sole subject Head of bull, 1931. the large collage of Women at their toilette, In the 1930s, these depictions take on a more complex 1938, displayed next to two of his most dimension with the appearance of a mythological striking portraits of the time Portraits of Dora figure: the Minotaur, the half-man, half-bull trapped Maar, 1937 and of Marie-Thérèse, 1937.