• 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-0
  • 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-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-1900-1907-0

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