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  • The Barcelona of the First World War years was a complex city, fully immersed in various social and political conflicts, and culturally very active, thanks, in part, to the presence of many artists who took refuge there. Within this context of vibrant modernity, an enigmatic and complex character arrived in the city to fight in a boxing match: Arthur Cravan. The Museu Picasso has wanted to dedicate an exhibition to this controversial figure -poet and writer, dadaist "avant la lettre", boxer, lecturer, performer, traveller─ who in 1916 took on the world champion Jack Johnson and managed to disturb the microcosm of Barcelona for a few weeks. His rather unconventional life and his disappearance continues to turn him, even today, into a myth with a lot to discover. The exhibition, which counts on a large volume of written and graphic documentation, helps us to approach some of these less known aspects of the trajectory of Cravan, and it is, at the same time, an excellent prelude to understanding the cultural environment of a Barcelona that Picasso would visit the following year.
    Camí: /museupicasso/en/catalogue-arthur-cravan-maintenant
  • Picasso lived the most important stage of his artistic formation in Barcelona. But in the city he didn't only learn the secrets of his trade and perfected the techniques, but he also got to know some of the friends who would accompany him for a good part of his life. Ramon and Jacint Reventós were two of these friends.
    Camí: /museupicasso/en/picasso-and-revent%C3%B3s-correspondence-among-friends-0
  • Picasso first set foot Paris in the autumn of 1900, on a visit to the Universal Exposition. A year later he had his first Paris show, at the prestigious Vollard gallery, and had begun to make a name among the city's artists and intellectuals. The catalogue of the exhibition 'Picasso in Paris 1900-1907. Eating Fire', by Picasso expert Marilyn McCully, profiles the young artist's life during this crucial period, revealing the impact made on him by his first-hand exposure to the work of certain individual artists, Van Gogh, Toulouse-Lautrec, Steinlen, Rodin, Cézanne and Puvis de Chavannes and tracing the process that led him to forge a style of his own and become the leading figure of the French avant-garde.
    Camí: /museupicasso/en/devorar-par%C3%ADs-picasso-1900-1907
  • Michael FitzGerald, author of this catalogue and curator of the homonymous exhibition, and who in 2006 organised for the Whitney Museum of American Art of New York the exhibition «Picasso and American Art», has constructed an entertaining and educational tour through the production of artists from very diverse backgrounds and cultures – from North America, Europe, Latin America, Asia, Australia and Africa, who have been inspired by Picasso since his death. However, FitzGerald hasn't presented Picasso as a master to whom the rest of the artists are subordinated, if not, he has wanted to make known the way in which these creators have used the work of Picasso to elaborate their own works and how the dialogue with history and modernity has contributed to enriching and transforming contemporary culture.
    Camí: /museupicasso/en/post-picasso-reaccions-contempor%C3%A0nies
  • This is the third and final volume of the catalogue series published on occasion of the small-scale exhibitions that the Museu Picasso has organized to commemorate its fiftieth anniversary. It is dedicated to the seventy-nine exhibitions that it has put on throughout its history: given the impossibility of describing them individually, the author, Montse Torres, offers us a good synthesis of the spirit and the main guidelines that inspired them.
    Camí: /museupicasso/en/museu-picasso-50-anys-barcelona-les-exposicions-0
  • The catalogue begins by telling us about an oil painting that Picasso painted on a canvas and that subsequently he covered by painting another over it: Rooftops of Barcelona. This fact, not unusual in the artist at the beginning of the 20th century, has in this instance a special significance, because in the hidden work there appears a couple that is related to one of the leading compositions from the blue period, La Vie, painted in Barcelona in 1903, and conserved in the Cleveland Museum of Art.
    Camí: /museupicasso/en/viatge-trav%C3%A9s-del-blau-la-vida
  • This catalogue gathers together the works presented in the first exhibition that, in a monographic way, deals with the topic of the self-portrait in Picasso. Although this is a genre that the artist cultivated throughout his life, the intensity and intentionality with which he did so meant that they were never the same.
    Camí: /museupicasso/en/yo-picasso-autoretrats
  • On March 9th 1963, the Museu Picasso of Barcelona opened its doors to the public. To celebrate the fiftieth anniversary of that date, the museum has planned the presentation of three small exhibitions that, during 2013, aim to explain to the visitors how the institution was created, how the collection was formed and how one of its main activities has been carried out: the organisation of temporary exhibitions...
    Camí: /museupicasso/en/el-museu-picasso-50-anys-barcelona-els-or%C3%ADgens
  • This book was published within the framework of Archivo F.X.: On Zero Economy, a project by Pedro G. Romero for the Museu Picasso, based on a commission by the previous director Pepe Serra. The publication puts together the diverse thematic fields and all the works that were presented in the exhibition «Economy: Picasso», and reproduces photographs of the exhibition. It also includes a review of the laboratories that, under the name of 'Exchanges', 'Partitions' and 'Friendships', were held before and during the exhibition. Moreover, it contains two essays, written especially for the occasion, one by Ángel González and the other by Georges Didi-Huberman, as well as a re-print of a well-known text by Rosalind Krauss.
    Camí: /museupicasso/en/economia-picasso
  • The catalog reproduces each of the pieces of the donation and provides a detailed description of them , which has been developed by experts in Picasso's ceramics Marilyn McCully and Michael Raeburn . Thanks to his work , readers now have an updated and comprehensive information . The book also contains an article by Margarida Cortadella , which answers some of the questions surrounding the donation : who, when and why the pieces that eventually integrating it were elected.
    Camí: /museupicasso/en/cer%C3%A0miques-de-picasso-un-regal-de-jacqueline-barcelona

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