Pablo Picasso, Ritratto di Maria Therese, 1937 © Succession Picasso, by SIAE 2017
As well as displaying 50 works and a selection of photographs documenting an artistic voyage through the artist’s different periods and styles over a time span from the early 1900s to the 1970s, the exhibition Picasso. Masterpieces from the Picasso Museum, Paris, 10 November 2017 to 6 May 2018 at Palazzo Ducale, Genoa, will also showcase some of the pieces closest to the heart of this Catalan genius. In fact, the pieces on loan from the Picasso Museum, Paris, are the works from which he was never separated until his death in 1973, revealing his particular preference for them.
The exhibition, curated by Coline Zellal, conservator of the holdings of the Picasso Museum, Paris, promoted by Palazzo Ducale Fondazione per la Cultura, Comune di Genova and Regione Liguria, and organized by Mondomostre Skira in collaboration with the Picasso Museum, Paris, is part of the wider-arching Picasso-Méditerranée project. The Genoa exhibition, an initiative of the Musée National Picasso-Paris, is a journey through the artist’s work and the places that inspired it, and represents a unique cultural experience dedicated to strengthening the links between the countries on the shores of the Mediterranean.
A short introduction to the exhibition and its masterpieces
The nine sections of the Show: from animals to self-portraits.
Times, tickets and bookings, all you need to know
On December 31, the Exhibition will remain open until 2:00 pm with toast at midnight.
"I paint the same way that some people write their autobiography. My canvases, finished or not, are the pages of my diary, and as such are valid. The future will choose the pages it prefers. It is not up to me to do so."
The exhibition goes from the preparatory studies for the Demoiselles d’Avignon right up to his late works from the 1970s, covering over half a century of experimentation, bearing witness to the extraordinary variety of Picasso’s art and illustrating the history of the artist’s home and of the overlapping existences of those living there and of his art. The rare photographs of his studio in Le Bateau-Lavoir document his studies for Demoiselles d’Avignon as well as Picasso’s social life in Montmartre; the artist lived with Dora Maar in Rue des Grands-Augustins and dozens of portraits of his companion line the walls of his studio; in Villa La Californie, Cannes, photographic portraits of his children Claude and Paloma are the exact echoes of the painted portraits that he executed in that self-same period; in the Mas de Notre-Dame-de-Vie in Mougins, Picasso is shown posing together with his work, both in the house and its garden. The works on display and their “journeys” from one studio to the next have a great revealing power: the images of his studios, like his works, allow us to contemplate the artist at work but above all what he has chosen to reveal and what he has deliberately concealed.
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