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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 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
  • 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 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

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