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  • This catalogue, produced in collaboration with the National Portrait Gallery of London, includes around two hundred pieces that approach us in an exhaustive way to the passion of Picasso for portraits. Human figures, and specifically portraits, were an essential element in the work of the artist, from his formative years until the end of his life. The perspicacity for capturing the peculiarities and character traits of the personages that he represented, either if they were members of his circle of family and friends or the women with whom he related, and the ability to reproduce facial expressions, postures and gestures, were already clearly demonstrated in the caricatures he had drawn as a child. By means of the expert and documented texts of the curator Elizabeth Cowling, we can discover how important his models were for Picasso, how he tried to adapt a certain style to the understanding of his personality and how he strove to shape an idea in the most complete way possible.
    Camí: /museupicasso/en/catalogue-picasso-Portraits
  • "Cubism and War. The Crystal in the Flame" is the catalogue of the exhibition that Christopher Green, with his habitual intellectual solidity, has curated for the Museu Picasso de Barcelona. The book includes a selection of works by cubist artists who lived in Paris, in the rearguard, during the First World War, and who responded with their work to the horrible reality that they had to live close to. The clarity and balance of their cubist works – like a crystal – and the research of aesthetic purity, confronted the mud and the terrible experiences of the frontline, and this is where the metaphor of the title came from.
    Camí: /museupicasso/en/cubism-and-war-crystal-flame
  • 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
  • This catalogue ties in with a remarkable exhibition that explores 20th-century art through two of its leading figures-Picasso and Dalí-and their mutual admiration and rivalry. It takes an in-depth look at their relationship and presents both artists within the context of their time and their surroundings. Works and documents from the time reveal the counterpoints and contradictions throughout their relationship, from their first meeting in the 1920s, when Dalí visited Picasso's studio after making his first avant-garde forays, through the 1930s and their friendships with leading intellectuals―André Breton, Paul Éluard and Georges Bataille―through to their opposing positions following the Spanish Civil War.
    Camí: /museupicasso/en/picassodal%C3%AD-dal%C3%ADpicasso-0
  • 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 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
  • In January 1937, Picasso began work on two etchings in which he poured forth a bitter satirical critique of General Franco and the violence being unleashed against Republican Spain, and a denunciation of the suffering of the victims of the country's bloody civil war. Each of the etchingsis composed of nine cartoons, initially intended to beprinted and sold as individual postcards. The artist chose the title "Dream and Lie of Franco" for these aquatints, which went on sale finally (uncut, in a folder with one of his poems) at the Paris International Exposition of that year. "Dream and Lie of Franco", one of the most emblematic works Picassocreated at the time, is the pivotal axisof the exhibition "Cartoons on the Front Line", which explores in depth the connections between the graphic and symbolic language Picasso used hereand the rest of the art and propaganda produced in the context of the Spanish Civil War. The show and the catalogue cast new light on the indissoluble links between Picasso and his work and the society and the time in which he lived.
    Camí: /museupicasso/en/vinyetes-al-front
  • This outstanding tour through of more than 250 images sheds light on the shifting relationship between Picasso and the modernista artist par excellence, Santiago Rusiñol. At the outset, Picasso deeply admired Rusiñol as a man and an artist and adopted many of his postulates and practices. Eventually, however, after this period of absorption (to use the term employed by Eduard Vallès, the exhibition curator) Picasso distanced himself from Rusiñol almost for good through satire and caricaturisation. This path (illustrated to perfection by Picasso's 21 portraits of Rusiñol ) is a paradigmatic example of the creative and life processes of the painter from Malaga.
    Camí: /museupicasso/en/picasso-versus-rusi%C3%B1ol-1
  • Titles: Georges Braque 1882-1963 Authors: Gilberte Martin-Méry, Maria Teresa Ocaña, Pierre Daix, Isabelle Monod-Fontaine Publication year: 1986 Pages: 374 Language: Catalan Publisher: Ajuntament de Barcelona. Museu Picasso ISBN: 84-7609-137-0 Price: 10 euros (hardback) / 8 euros (paperback)
    Camí: /museupicasso/en/georges-braque-1882-1963
  • Over the centuries Japanese erotic prints have been known by different names, such as shunga, makura-e or warai-e. Another related term was higa-e, meaning 'secret images'. This catalogue presents for the first time some twenty of these prints which belonged to Picasso. In order to establish a thought-provoking dialogue we have selected a number of Picasso's own erotic etchings and various works by other artists, both Japanese and Western, which together shed new light on the phenomenon of European interest in Japanese art and on the links between this and the work of Picasso.
    Camí: /museupicasso/en/cat%C3%A0leg-imatges-secretes-picasso-i-lestampa-er%C3%B2tica-japonesa

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