• In 2016, the Museu Picasso in Barcelona purchased Lucien Clergue’s collection of photographs of Picasso: close to 600 black and white vintage silver gelatin prints. This book presents a selection of the collection in chronicle form: Clergue’s story in images of Picasso, compiled during the many encounters between the two in the French Midi, where they both lived.
    Camí: /museupicasso/en/picasso-clergue
  • The technical study of Picasso’s oeuvre welcomes us into a fascinating space of research and learning. By combining analyses of materials, image techniques and high resolution digital photography with other exploration tools we have been able to trace the artist’s creative journey and decipher the information hidden in four paintings of the years 1901-1904: "Still Life", "Jaume Sabartés with Pince-Nez" and "The Blue Glass and Barcelona Rooftops". 
    Camí: /museupicasso/en/picasso-blue-project
  • Camí: /museupicasso/en/node/805
  • «Je suis le cahier» – ‘I am the sketchbook’: this declaration of identification that Picasso wrote in 1907, in one of the sketchbooks directly linked to Les Demoiselles d’Avignon, attests to the great importance he attached to the laboratory of ideas constituted by the carnets in which he sketched and drew. This project affords us a unique opportunity to immerse ourselves in the inexhaustible curiosity of the great artist. The nineteen sketchbooks (1.300 drawings) on show in this exceptional catalogue make it clear how important it was for the artist to be able to play and experiment to find formal and compositional solutions he needed. They also are a testament to the vivacity and speed of his gesture and his mastery of media and techniques.
    Camí: /museupicasso/en/picasso-sketchbooks
  • In the months of January and February 1938, on occasion of the well-known International Exposition of Surrealism held at the Galerie Beaux-Arts in Paris, Óscar Domínguez’s gramophone "Jamais" (Never) caused as much of a stir as Salvador Dalí’s "Taxi pluvieux" (Rainy Taxi) or the 1,200 sacks of coal suspended from the ceiling in the main hall.
    Camí: /museupicasso/en/jamais-%C3%B3scar-dom%C3%ADnguez-pablo-picasso
  • Picasso, as his friend Man Ray had already written in the journal Cahiers d’Art in 1937, had a fruitful and complex relationship with the camera whose analysis became possible after 1992, when the artist’s heirs donated part of his photographic archive to the French State. It has taken years to organise and study the vast amount of material in this legacy since Anne Baldassari, conservator of the Musée national Picasso-Paris, first started in the mid-1990s to conduct in-depth research on the black and white images making up the museum’s holdings.
    Camí: /museupicasso/en/Picasso-the-Photographer-s-gaze
  • An exhibition on the subject of Picasso’s kitchen? Why not? There is noth¬ing at all incongruous in the idea, because cooking is a subtle revelation of Picasso’s art: painting, engraving, sculpture, ceramics, poetry and theatre. What is more, we should not neglect the role of the restaurant as a meet¬ing place for the avant-gardes, from the Quatre Gats tavern in Barcelona to the cabaret Au Lapin Agile on Montmartre, where the bohemians of the time and Picasso’s little entourage would share a table. Food, utensils and places related to cooking have a powerful capacity for evocation or asso¬ciation. Indeed, the very act of eating and digesting is a metaphor for a cre¬ative artist. In the edible – and even the inedible – there is a joyful possibility of swallowing the world. Picasso had this taste for the world and for all that is concrete, to the point of biting into it. His continual inventions and the euphoria of his imaginary bear witness to an insatiable appetite: Picasso enters the arena of the kitchen and commences his great ceremony. As Heraclitus said: ‘the gods are in the kitchen.’
    Camí: /museupicasso/en/picasso-kitchen
  • 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
  • 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

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