• «Je suis le cahier» – ‘I am the sketchbook’: this declaration of identification that Picasso wrote in 1907, in one of the sketchbooks directly linked to Les Demoiselles d’Avignon, attests to the great importance he attached to the laboratory of ideas constituted by the carnets in which he sketched and drew. This project affords us a unique opportunity to immerse ourselves in the inexhaustible curiosity of the great artist. The nineteen sketchbooks (1.300 drawings) on show in this exceptional catalogue make it clear how important it was for the artist to be able to play and experiment to find formal and compositional solutions he needed. They also are a testament to the vivacity and speed of his gesture and his mastery of media and techniques.
    Camí: /museupicasso/en/picasso-sketchbooks
  • In the months of January and February 1938, on occasion of the well-known International Exposition of Surrealism held at the Galerie Beaux-Arts in Paris, Óscar Domínguez’s gramophone "Jamais" (Never) caused as much of a stir as Salvador Dalí’s "Taxi pluvieux" (Rainy Taxi) or the 1,200 sacks of coal suspended from the ceiling in the main hall.
    Camí: /museupicasso/en/jamais-%C3%B3scar-dom%C3%ADnguez-pablo-picasso
  • «say one hundred times a and afterwards b and afterwards a b a a and afterwards a b a b and afterwards a b c d jump of the toad». Picasso Pablo (22.01.1936). The structure of the alphabet perfectly matches the poetry of Picasso, who always felt a predilection for both letters and words, as well as for inventories, lists and repetitions. Writing was for him the inseparable complement of painting, because it expressed what the image could not express.
    Camí: /museupicasso/en/alphabet-picasso-poet
  • Pablo Picasso, who maintained an unwavering friendship with Guillaume Apollinaire (1880-1918) and Paul Eluard (1895-1952), never managed to overcome the premature death of those two great poets.
    Camí: /museupicasso/en/pablo-picasso-paul-eluard-A-sublime-friendship
  • Picasso, as his friend Man Ray had already written in the journal Cahiers d’Art in 1937, had a fruitful and complex relationship with the camera whose analysis became possible after 1992, when the artist’s heirs donated part of his photographic archive to the French State. It has taken years to organise and study the vast amount of material in this legacy since Anne Baldassari, conservator of the Musée national Picasso-Paris, first started in the mid-1990s to conduct in-depth research on the black and white images making up the museum’s holdings.
    Camí: /museupicasso/en/Picasso-the-Photographer-s-gaze
  • «I hope that what I have done gives rise to something very different in those who come after me», Picasso said, opening himself to the new becomings of art and life. The exhibition now being presented in the Museu Picasso in Barcelona with the title "The name of the father" has its origin in the need for a critical exploration of Picasso’s artistic and existential legacy in order to create a network of interrelations which make it possible to open up new paths, as he himself hoped. The exhibition brings together a number of contemporary artists for whom analysis of the complexity of Picasso’s aesthetic and ideological heritage is inescapable.
    Camí: /museupicasso/en/the-name-of-the-father
  • "Pablo Picasso and the publishers Gustavo Gili: work and friendship" aims to take an in-depth look at the ties of the artist with two generations of the Barcelona publishers. The history of this relationship, which has the love of books as a thread, took place in two stages. The first includes Gustau Gili Roig's contacts with Picasso between 1926 and 1930, which, despite everything, didn't end up in the form of a publishing project. The second one, started in 1956 by Gustau Gili Esteve and his wife, Anna Maria Torra, is defined by the ties of friendship with Pablo and Jacqueline Picasso and by the consolidation of a professional collaboration that culminated in exquisite editions such as "Tauromaquia" or "Art of bullfighting", by Pepe Illo, or "The burial of the count of Orgaz".
    Camí: /museupicasso/en/pablo-picasso-and-publishers-gustavo-gili-work-and-friendship
  • "Sabartés by Picasso by Sabartés" aims to contribute to making known the life and work of Jaume Sabartés i Gual (Barcelona, 1881 - Paris, 1968), founder of the Museu Picasso of Barcelona. Intimate friend and confidant of Pablo Picasso, he was his personal secretary from November 1935 until he died. But, apart from this well-known facet of his life, Sabartés carried out an intense professional activity as a writer and biographer of Picasso.
    Camí: /museupicasso/en/sabartes-by-picasso-by-sabartes
  • An exhibition on the subject of Picasso’s kitchen? Why not? There is noth¬ing at all incongruous in the idea, because cooking is a subtle revelation of Picasso’s art: painting, engraving, sculpture, ceramics, poetry and theatre. What is more, we should not neglect the role of the restaurant as a meet¬ing place for the avant-gardes, from the Quatre Gats tavern in Barcelona to the cabaret Au Lapin Agile on Montmartre, where the bohemians of the time and Picasso’s little entourage would share a table. Food, utensils and places related to cooking have a powerful capacity for evocation or asso¬ciation. Indeed, the very act of eating and digesting is a metaphor for a cre¬ative artist. In the edible – and even the inedible – there is a joyful possibility of swallowing the world. Picasso had this taste for the world and for all that is concrete, to the point of biting into it. His continual inventions and the euphoria of his imaginary bear witness to an insatiable appetite: Picasso enters the arena of the kitchen and commences his great ceremony. As Heraclitus said: ‘the gods are in the kitchen.’
    Camí: /museupicasso/en/picasso-kitchen
  • Coinciding with the centenary of the longest visit that Picasso made to Barcelona, after having settled down definitively in Paris in 1904, the Museu Picasso has organised an exhibition that, beyond being commemorative, provides new data to the life and creative chronology of the artist. The catalogue narrates the meeting up again of Picasso with the city – between June and November 1917, and it does so by contextualising a very significant group of works from the permanent collection of the museum, which were carried out precisely during those months, by means of documents that until now had been unpublished (the majority conserved in the Picasso Archives of Paris) and of the stylistic and thematic plurality of the numerous drawings that fill three of his sketchbooks. The Picasso that the catalogue shows is the Picasso who started his relation with Olga Khokhlova, who strolled with her around some of the best known places of the city, visiting Barcelona friends, and going to the theatre or watching bullfights. The result is a rich and suggestive monograph that approaches us to an artist who debated between the cleansing of classicism and the survival of the Cubist language. All in all, a close and active Picasso, and in permanent transformation.
    Camí: /museupicasso/en/catalogue-1917-picasso-in-barcelona

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