Picasso Museum of Barcelona

Barcelona City Council

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  • 1917. Picasso in Barcelona

    • Date October 26th, 2017 to January 28th, 2018
    • In this exhibition, we aim to show how Picasso returned to a Barcelona in 1917 after many years in Paris, where he encountered a rich cultural scene, a city unlike the one he had left. We also intend to examine the nature of his relationships with the local artists, the tourist outings he went on, the things he did in his spare time, and his artistic output during this period, which was particularly prolific.

      In this interlude in Barcelona, far from the oppressive cli-mate in Paris, a city then at war, and from his Cubist circles, Picasso was able to work freely, searching for new forms of expression. This was a moment of stylistic transition in Picasso’s œuvre that would continue in the years immediately afterwards, when classical sources alternated totally freely with the achievements of Cubism.

  • Arthur Cravan. Maintenant?

    • Date October 26th, 2017 to January 28th, 2018
    • Adventurer as well as poet and boxer, ‘mystic Colossus’, towering figure, Fabian Avenarius Lloyd (1887-1918), assumed the pseudonym Arthur Cravan on arriving in Paris in 1909, he was a highly enigmatic man, a uniquely colourful character whose life merged into his work, and whose birth and death remain as obscure as his livelihood.

      Cravan, nephew of Oscar Wilde, achieved fame through the non-conformist magazine Maintenant, of which he was director, editor and sole contributor. Not only as his mysterious background but also his behaviour and ‘sense of provocation’, Cravan is clearly entitled to a place among the key precursors of Dadaism. Surely the least of Cravan’s feats included entering the ring against a world champion in Barcelona, Jack Johnson, selling his poetry in the streets of Paris like a barrowboy hawking fruit and vegetables, and on numerous occasions giving active voice to his views under the imperious and imperative title: MAINTENANT?

  • The shared studio. Picasso, Fín, Vilató, Xavier

    • Date October 26th, 2017 to January 28th, 2018
    • This exhibition explores the ‘printmaking connection’ uniting four artists from the same family: Picasso, J. Fín, Vilató and Xavier. They all made printmaking an essential part of their work, sharing a taste for the different techniques, but also for the time those techniques required.

  • Other artists in the 1970 Picasso donation

    • Date April 6th, 2017 to September 17th, 2017
    • In February 1970 Picasso donated a number of works to the city of Barcelona in memory of his friend Jaume Sabartés. These works were all pieces he had left with his family when he moved to Paris and which had been in the care of his mother Maria, his sister Lola and her children at their homes at 3 Carrer de la Mercè, 7 Passeig de Colom, and 48 Passeig de Gràcia. The donation comprised 236 oil paintings, 1,149 drawings, 17 albums of drawings, 2 prints, 4 books of text with marginal drawings and 47 works by other artists.

      The modest assortment of works by other artists was made up of pieces by unknown painters and colleagues and pupils of Picasso’s father, such as Rafael Blanco Merino and Leandro Oroz Lacalle, as well as a few pieces by Picasso’s own friends and colleagues—mainly from his student years at La Llotja and as a regular at Quatre Gats—including Carles Casagemas, Santiago Rusiñol, Manuel Pallarés, Manolo Hugué and Julio González.

  • Picasso. Portraits

    • Date March 17th to June 25th, 2017
    • The human figure was Pablo Picasso’s prime subject and portraiture always occupied an important place in his art. He hardly ever worked to commission and virtually all his portraits and caricatures depicted people in his intimate circle at the time.

      Free from external pressure, he interpreted his subjects according to his vision and understanding of them, choosing the style and medium he deemed most expressive or appropriate on that particular occasion. Caricature was a favourite activity and many of his mature painted portraits involved the simplifications and distortions typical of the genre, and occasionally its humour.

      The liberties Picasso took with natural appearances and his subversion of decorum were, nevertheless, accompanied by a constant, probing engagement with the traditions of Western portraiture.