PICASSO &
CHICAGO AT THE ART INSTITUTE OF CHICAGO
February 20, 2013 – May 12, 2013
PICASSO
& CHICAGO AT THE ART INSTITUTE OF CHICAGO
February
20, 2013 – May 12, 2013
Regenstein
Hall
A century
ago, in 1913, the Art Institute of Chicago became the first art museum in the
country to present the work of a young Spaniard who would become the preeminent
artist of the 20th century, Pablo Picasso. This February the museum celebrates
the special 100-year relationship between Picasso and Chicago by bringing
together over 250 of the finest examples of the artist's paintings, sculpture,
prints, drawings, and ceramics from private collections in the city, as well as
from the museum's collection, for the first large-scale Picasso exhibition
organized by the museum in almost 30 years.
After
first showing artworks by Picasso in the 1913 Armory
Show, the museum began collecting his works in the early 1920s with
two figural drawings, Study of a Seated Man(1905)
and Sketches of a Young Woman and a Man (1904/05); in 1926 the museum
welcomed The Old Guitarist (late 1903–early 1904) as a generous gift
of Frederic Clay and Helen Birch Bartlett. Over time, the collection has
expanded to include paintings such as the classically inspired Mother and
Child (1921) and the surrealist Red Armchair (1931); landmark
sculptures including the Cubist Head of a Woman
(Fernande) (1909) and a maquette for Picasso's largest three-dimensional
work,Monument for Richard J. Daley Plaza (1965); and works on
paper such as Woman Washing Her Feet (1944) and
impressions of The Frugal Meal (1904), one of only three
examples in the world of the famous Blue Period etching actually printed in
blue ink.
Featuring
such diverse and significant works from the museum's own exceptional holdings
and from collections throughout the city, Picasso and Chicago not
only charts the full gamut of Picasso's artistic career but also chronicles the
growth of Chicago as a place for modern art and the storied moments of overlap
that have contributed to the vibrant interest in Picasso from 1913 to today.
Adding to the celebration of this eminent artist and his connection to our city
are special
installations throughout the galleries as well as a host of exceptional
programming.
You may
reach to read and see my latest news about Pablo Picasso paintings and his time
term information to click below web page.
NUDE UNDER A PINE TREE - JANUARY 20, 1959
Oil on Canvas - 194 x 279.5 cm
Signed, l.r.: "Picasso"
Bequest of Grant J. Pick, 1965.687
Signed, l.r.: "Picasso"
Bequest of Grant J. Pick, 1965.687
© 2013 Estate of Pablo Picasso / Artists Rights Society
(ARS), New York
THE RED ARMCHAIR 1931.
Gift of Mr. and Mrs.
Daniel Saidenberg.
© 2013 Estate of Pablo
Picasso / Artists Rights Society (ARS), New York
Pablo Picasso painted numerous portraits of the many women
in his life. Often the circumstances surrounding his relationships or the
distinct personalities of his sitters seem to have precipitated stylistic
changes in his work. Marie-Thérèse Walter came into the artist’s life around
1925. Though twenty-eight years her senior, Picasso was smitten and began
making furtive references to her blond hair, broad features, and voluptuous
body in his work. Perhaps acknowledging the double life he and she were
leading, he devised a new motif: a face that encompasses both frontal and
profile views.
Picasso experimented beyond form and
style, exploring different materials— including found objects such as
newspaper, wallpaper, and even studio scraps—in his work. The Red Armchair demonstrates the artist’s innovative
use of Ripolin, an industrial house paint that he first employed as early as
1912 for its brilliant colors, as well as its ability to provide an almost
brushless finish if used straight from the can. In preparation for an
exhibition of his work at the Galeries Georges Petit in 1931, Picasso began a
series of large paintings of Marie-Thérèse, of which The Red Armchair was the first. Here he mixed Ripolin
with oil to produce a wide range of surface effects— from the crisp brushmarks
in the yellow background, to the thick but leveled look of the white face and
the smooth black outlines of the figure.
http://www.artic.edu/aic/collections/artwork/5357
THE RED ARMCHAIR ( DETAIL ) 1931.
MOTHER & CHILD 1921
The Art Institute of
Chicago, Restricted Gift of Maymar Corporation, Mrs. Maurice L.Rothschild, and
Mr. and Mrs. Chauncey McCormick; Mary and Leigh Block Fund; Ada Turnbull Hertle
Endowment; through prior gift of Mr. and Mrs. Edwin E. Hokin.
© 2013 Estate of Pablo
Picasso / Artists Rights Society (ARS), New York
DANIEL-HENRY KAHNWEILER 1910.
Gift of Mrs. Gilbert W. Chapman in
memory of Charles B. Goodspeed.
© 2014 Estate of Pablo Picasso / Artists Rights Society
(ARS), New York
SHEET OF STUDIES FOR THE CHICAGO
SCULPTURE IV-XI, 1962
Restricted gift of William E. Hartmann
© 2013 Estate of Pablo Picasso /
Artists Rights Society (ARS), New York
CUBIST STUDY 1912
Ink on paper - 19.1 x 13 cm
Credit Line: Gift of Pierre Loeb
© 2014 Estate of Pablo Picasso /
Artists Rights Society (ARS), New York
CARD
PLAYER
Paris,
Winter 1913-14
Oil
on canvas - 108 x 89.5 cm
Credit
Line: Acquired Through the Lillie P. Bliss Bequest
©
2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
STUDY FOR LES DEMOISELLES D’AVIGNON 1907
Oil on Canvas - 18.5 x 20.3 cm
Credit Line: Acquired through the
Lillie P. Bliss Bequest
© 2014 Estate of Pablo Picasso /
Artists Rights Society , New York
THE ART INSTITUTE OF CHICAGO
THE ART INSTITUTE OF CHICAGO
PORTRAIT OF SYLVETTE DAVID 1954.
Gift of Mary and Leigh Block.
© 2014 Estate of Pablo Picasso /
Artists Rights Society
(ARS), New York
RICHARD
J. DALEY CENTER MONUMENT 1965.
The Art Institute of
Chicago, gift of Pablo Picasso.
© 2013 Estate of Pablo
Picasso / Artists Rights Society (ARS), New York
STUDY OF A SEATED MAN 1905
Gift of Robert Allerton
THE ART INSTITUTE OF CHICAGO
HEAD
1927
Gift
of Florence May Schoenbom and Samuel A. Marx
MAQUETTE FOR RICHARD
J. DALEY CENTER MONUMENT 1965.
The Art Institute of
Chicago, gift of Pablo Picasso.
© 2013 Estate of Pablo
Picasso / Artists Rights Society (ARS), New York
In-Gallery View of
Pablo Picasso's Maquette for
Richard J. Daley
Center Monument 1965
The Art Institute of
Chicago, gift of Pablo Picasso.
© 2013 Estate of Pablo
Picasso / Artists Rights Society, New York
LAS MENINAS 1957
WOMAN’S HEAD ( FERNANDE ) 1909
Bronze - 41.3 x 24.7 x 26.6 cm
© 2014 Estate of Pablo Picasso /
Artists Rights Society (ARS), New York
HEAD OF A WOMAN 1909
Gouache on paper - 62.2 x 48 cm
Credit Line: Gift of Mrs. Saidie A. May
© 2014 Estate of Pablo Picasso /
Artists Rights Society (ARS), New York
PABLO PICASSO IN MUSEUM MALAGA
MENINES ET LA VIE
PABLO PICASSO IN
MOUGINS, FRANCE 1967
Showing one of the Art
Institute of Chicago Studies For the Richard J. Daley Center
Sculpture. Photo courtesy of Skidmore, Owings,
and Merrill LLP. Art
© 2013 Estate of Pablo
Picasso / Artists Rights Society (ARS), New York
PICASSO, PARIS & AFRICAN ART
Anecdotes relating Pablo Picasso’s interest in sculpture
from Africa and the Pacific Islands beginning in the first decade of the 20th
century are well known, recounted by his lover and model Fernande Olivier, his
friend Gertrude Stein, and others.
Picasso and his contemporaries—including Guillaume
Apollinaire, Georges Braque, André Derain, Henri Matisse, and Maurice de
Vlaminck—were fascinated by masks and figures displayed at the Trocadéro
Museum, which opened in 1878 to house works acquired from colonial
representatives, explorers, merchants, and missionaries. The creation of a new
market for African and other so-called “primitive art” in the West was among
the repercussions of colonialism, and while many objects never intended for
sale were swept into this market, African artists also responded directly to
their new clientele. Shipped to the capitals of Europe, objects from the
colonies could be found in Parisian cafés, flea markets, galleries, and shops
frequented by the avant-garde.
Picasso’s engagement with African art continued throughout his lifetime, resulting in a collection that included some 100 objects at the time of his death in 1973. Not surprisingly, most of these works came from French colonies including Gabon, Guinea, and Mali. His collection included singular pieces, as well as groups demonstrating a variety of approaches to an iconic form. They frequently appear in photographs of the artist in his studio.
On special display in Gallery 137 are seven African artworks from the Art Institute of Chicago's permanent collection that were selected for their similarities to works once owned by Picasso. These objects also came through the Paris African art market and invite us to consider Picasso's collecting within this context.
Picasso’s engagement with African art continued throughout his lifetime, resulting in a collection that included some 100 objects at the time of his death in 1973. Not surprisingly, most of these works came from French colonies including Gabon, Guinea, and Mali. His collection included singular pieces, as well as groups demonstrating a variety of approaches to an iconic form. They frequently appear in photographs of the artist in his studio.
On special display in Gallery 137 are seven African artworks from the Art Institute of Chicago's permanent collection that were selected for their similarities to works once owned by Picasso. These objects also came through the Paris African art market and invite us to consider Picasso's collecting within this context.
http://www.artic.edu/picasso-paris-and-african-art
PICASSO & CHICAGO AT THE ART INSTITUTE OF CHICAGO
PICASSO AND AMERICAN ART
In the first decades of the 20th century, American artists were
increasingly aware of the radical artistic innovations of European modernism.
While many of the new movements were influential, among them
Fauvism, Futurism, and, after World War I, Dadaism and Surrealism, Pablo
Picasso's Cubist experiments with breaking up forms into planes were to have
the most lasting impact. During this period a number of American artists,
including Charles Demuth, Arthur Dove, and Max Weber, traveled to Paris to
learn more about modern art. Many gravitated to the salon of Gertrude and
Leo Stein and moved in the same circles as Picasso and his fellow Cubist
Georges Braque. Likewise, Mexican artist Diego Rivera worked in Paris in the
1910s and adopted elements of Cubism in portraiture, landscape, and still life.
Picasso’s art was also on display in New York City and other venues around United States. Artists who remained stateside, among them Stuart Davis and Georgia O’Keeffe, could see his work at Alfred Stieglitz’s gallery, 291, where Picasso’s works were shown in 1911 and 1914/15. But most Americans first experienced Picasso’s radical compositions at the International Exhibition of Modern Art, better known as the Armory Show, which debuted in New York in 1913. A smaller version of the exhibition also traveled to Boston and Chicago, where it was installed at the Art Institute. Although newspapers fanned the flames of controversy, after 1913 the importance of Cubism, and indeed modernism more broadly, could no longer denied.
Despite their fascination with Cubist techniques, American modernists were drawn to native subject matter. They rejected the academic conventions of the American art world but did not renounce American culture. They viewed the relatively young United States as the quintessential modern society; indeed, subjects such as skyscrapers, factories, and jazz seemed ideal for modernist art.
Picasso’s art was also on display in New York City and other venues around United States. Artists who remained stateside, among them Stuart Davis and Georgia O’Keeffe, could see his work at Alfred Stieglitz’s gallery, 291, where Picasso’s works were shown in 1911 and 1914/15. But most Americans first experienced Picasso’s radical compositions at the International Exhibition of Modern Art, better known as the Armory Show, which debuted in New York in 1913. A smaller version of the exhibition also traveled to Boston and Chicago, where it was installed at the Art Institute. Although newspapers fanned the flames of controversy, after 1913 the importance of Cubism, and indeed modernism more broadly, could no longer denied.
Despite their fascination with Cubist techniques, American modernists were drawn to native subject matter. They rejected the academic conventions of the American art world but did not renounce American culture. They viewed the relatively young United States as the quintessential modern society; indeed, subjects such as skyscrapers, factories, and jazz seemed ideal for modernist art.
B
THE PICASSO EFFECT
A
In conjunction with the major exhibition "Picasso and
Chicago," the Art Institute celebrates this giant of the 20th-century art
with special installations throughout the galleries.
EXPLORING INFLUENCES
Nine focused installations from curatorial departments across the
museum delve into Picasso’s wide-ranging inspirations and those who drew
inspiration from him.
1 - The Artist and The Poet
Sparked by Picasso’s love of poetry, this presentation offers 110
works on paper surveying the myriad ways visual artists have been inspired by
or collaborated with poets in the 20th century.
2 - Picasso, Paris, and African Art
Comparable to works once owned by Picasso, these African artworks
are a catalyst for considering Picasso’s collecting taste and the early
development of an international African art market.
3 - Picasso and American Art
This group of works examines how Picasso’s radical artistic
innovations inspired American artists in the early decades of the 20th century
to rethink pictorial form and space.
4 - Picasso and Spanish Golden Age Painting
With works by such artists as El Greco and Velázquez, this
installation focuses on Picasso’s connection to Spain’s artistic past—a
connection that was often political and at times personal.
5 - Picasso and Cezanne
This presentation features works by Cézanne, whom Picasso saw as
“a father for all of us.”
6 - Picasso and Man Ray
This selection of photograms by Man Ray offers insight into the
two artists’ friendship and artistic exchanges from the early 1920s, when they
first met in Paris, through the next two decades.
7 - Picasso and Ancient Greek Vases
Selection of Greek vases explores the influence of the classical
theme of the wine god Dionysos and his entourage on Picasso.
8 - Sculpture and The Architectural Frame
This exhibition explores architectural engagement with sculpture
from Beaux-Arts monuments, Picasso’s piece in Daley Plaza, and other seminal
works of mid-century public art to postmodern inversions of structure and
decor.
9-The Mark of Modernism: Published Picasso Ryerson and Burnham
Libraries
Books of classic literature, collections of Surrealist poetry, and
art journals reveal Picasso’s prolific work as both a collaborator and creator
of illustrated books, magazines, and other ephemera.
You may reach more information to read about nine headlines of
exploring influences to click below link.
http://www.artic.edu/exhibitions/picasso-effect
