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Indepth Arts News:
"Picasso: Themes and Variations"
2010-03-28 until 2010-08-30
Museum of Modern Art
New York, NY,
USA
The Museum of Modern Art presents Picasso: Themes and
Variations, an exhibition exploring Pablo Picasso’s creative process through the medium of printmaking, from March 28 to August 30, 2010. It features approximately 100 works from the Museum’s superlative collection of the artist’s prints. The exhibition is organized by Deborah Wye, The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books, The Museum of Modern Art. Pablo Picasso’s insatiable curiosity and tireless urge to create art often led him to mediums beyond painting. He fully explored sculpture and drawing, as well as printmaking and
ceramics. This exhibition looks at Picasso’s engagement with printmaking over the course of his long career, and the ways it fostered his creativity by encouraging a thematic approach to his subjects and by allowing for constant experimentation.
As a young artist, Picasso (Spanish, 1881–1973) bought a small printing press, and prints
became part of the ongoing development of his work. His first series of etchings and drypoints
was devoted to themes of the Blue and Rose periods. Examples include Frugal Repast (1904), a
well-known scene of a destitute couple at a sparsely-filled dining table. Others depict itinerant
circus performers known as saltimbanques. As Picasso went on to forge his Cubist style, he made
prints intermittently, cross-fertilizing related drawings and paintings. One series of his abstracted
images was conceived in 1910 to illustrate St. Matorel, a book by poet Max Jacob, who was
among his closest friends during the first years in Paris.
While prints played a small but continuing role in Picasso’s early work, by the late 1920s
and early 1930s, he became truly engaged in the medium, and remained so for the rest of his life.
It was at that time that he grasped the narrative potential in his printmaking. He enjoyed
propping up his copperplates and conjuring up compositions that led his invented characters from
one scene to another. Later he would call this manner of printmaking his own way of “writing
fiction.”
Picasso created tales of the Minotaur, of fauns and satyrs, and of bullfighting. In
Minotauromachy (1935), he combined the Minotaur myth and the violence of the bullfight in a
highly symbolic, enigmatic scene that is considered a milestone of modern printmaking.
Especially under the influence of Surrealism, such motifs became entangled with events in Picasso’s personal life, particularly those involving his relationships with women. These
entanglements are also a factor in other themes he explored, from scenes of the artist in the
studio, to portrayals of sexual aggression, to tableaux in which one figure watches the other sleep.
Picasso’s focus on the women in his life also involved portraiture. Each time he became
involved with a new woman, he absorbed her features into his artistic vocabulary, depicting her
over time in a manner reflecting his own changing moods.
The exhibition includes a range of
prints inspired by these women, from the 1905 Head of Woman, which portrays Madeleine, a lover
known only by her first name, to a late series of linoleum cuts presenting a complex and evolving
portrait of Jacqueline Roque, the artist’s second wife and companion until his death in 1973. Also
included are the young Marie-Thérèse Walter, whose face constitutes a mysterious presence;
Picasso’s first wife, Olga, whose stirring portrait, which was recently acquired, exemplifies her role
as muse of the Neo-Classical period; the Surrealist photographer Dora Maar, who served as model
for the monumental Weeping Woman of 1937; and Francoise Gilot, the aspiring painter who spent
the postwar years with the artist, and whose likeness evolves over time to show Picasso’s
changing relationship to her.
Picasso continued making prints with great enthusiasm until the last years of his life.
During seven months in 1968, he created Suite 347, named for the number of prints it contains. It
represents an intense period of printmaking in a range of etching techniques, exploring a variety
of themes. Among the subjects is the artist’s reflection back on his long life, with figures of
varying scale in compositions filled with spatial disparities that suggest a flood of memories.
The master printers with whom Picasso worked provided not only technical expertise, but
also stimulating collaborative partnerships. Roger Lacourière tutored him in intaglio techniques
(etching, drypoint, engraving, and aquatint) in the early 1930s, as he reached a new level of
complexity in such prints as Faun Unveiling a Sleeping Girl (1936). Fernand Mourlot championed
Picasso’s work in lithography after World War II. The printers at Mourlot’s shop in Paris fostered
Picasso’s seemingly endless experimentation with developing images, like those in the Bull series,
which begins with a naturalistic rendering and ends with a few simple lines. In linoleum cut,
Hidalgo Arnéra spurred Picasso on at his workshop in the South of France in the 1950s and 1960s.
Picasso created masterworks like Portrait of a Young Girl in this medium, which until then had
been considered secondary. Finally, in his last years, Picasso collaborated with Aldo and Piero
Crommelynck, who set up an etching workshop near his residence in the Mougins to accommodate
his demanding schedule.
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