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  • 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
  • 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
  • Thanks to the two curators of the exhibition, Elizabeth Cowling and Richard Kendall, recognized authorities on Picasso and Degas, respectively, and to a spectacular selection of images, we can delve into the complex meshes of affinity that link these two crucial figures of modern painting. The essays here reveal the artists' parallel interests in themes of urban life, dance, brothels or scenes of women at their toilette, and their shared passions for sculpture and photography.
    Camí: /museupicasso/en/picasso-davant-degas
  • 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
  • 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
  • "Metamorphosis - one thing turning into another - has long been acknowledged as crucial to Picasso's work, both in its creative processes and in its impact. What has been looked at much less deeply is the way Picasso's metamorphic manipulation of pictorial signs allowed him to move between the living and the dead as he invented and transformed his ideas. This book takes the reader through carefully selected sequences of works on a journey in Picasso's imagination, one that holds in balance the living and the dead'.
    Camí: /museupicasso/en/objectes-vius-figura-i-natura-morta-en-picasso
  • The catalogue reproduces the entire series of Las Meninas that Picasso painted in 1957, together with other works by almost 25 different artists from various periods also inspired by Velázquez's masterpiece. By means of various essays and analyses of the featured works, the book invites a new reading of Picasso's series, rooted in the tradition of Spanish painting and at the same time highlighting its significance as a precursor of our contemporary interest in issues addressed by many subsequent interpretations, which have engaged concepts such as the space, the weight of the iconographic elements or the presence of the processes of artistic creation and of the artist himself in the resulting work
    Camí: /museupicasso/en/oblidant-vel%C3%A1zquez-las-meninas
  • Lee Miller met Picasso in 1937 and from that moment until the artist's death, the American photographer took nearly one thousand photos - over a hundred of which are included in this catalogue - showing the private Picasso and his world. The extremely intimate account given by Antony Penrose - Lee and Roland's son - is particularly interesting, where he recalls the unique experience of living with Picasso through the eyes of a boy. In addition, two texts on Picasso are also reproduced: a piece by Lee Miller from 1960, for an exhibition of the artist held in London, and another unpublished piece written by Roland Penrose.
    Camí: /museupicasso/en/lee-miller-picasso-en-privat
  • Camí: /museupicasso/en/node/580

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