Exhibition across two venues celebrating the centennial of Picasso’s trip to Italy in 1917. The artist arrived in Rome on February 18, 1917, in the company of Jean Cocteau, with whom he was working on the designs for Parade, a ballet for Diaghilev’s Ballets Russes (with music by Eric Satie).Spending a little over two months in Italy, Picasso visited Naples twice, in March and April 2017. The displays include examples of Picasso’s stage and costume designs not only for Parade but also for Petrushka.
As evidenced by the exhibition’s documents, letters, objects and photographs, Picasso’s personal collection of the arts of Africa, Oceania, the Americas and Asia accompanied him in his moves from one studio to the next. The aim is not to show any eventual influences of primitive art on Picasso, but rather to show the attraction that the arts of Africa, Oceania, the Americas and Asia held for him.
The second, more conceptual part of the exhibition offers a comparative view of the artist’s works with those of non-Western artists. The resulting juxtapositions reveal the similar issues these artists addressed (for example: nudity, sexuality, impulses and loss) through parallel 3-dimensional solutions such as deforming or deconstructing bodies, for example).
Major exhibition of over eighty works focusing on the artist’s portrayal of family, friends and lovers from all periods of his career and in all media. Works on show range from the realist paintings of his boyhood to his later ultra-spontaneous canvases. Includes celebrated masterpieces loaned by international institutions to works in private collections being shown in the United Kingdom for the first time.
Exhibition co-organised by the National Portrait Gallery, London and the Museu Picasso, Barcelona.
Los Angeles County Museum of Art
23 July – 27 November 2016
The stimulus Picasso received from his printers was critical to his exploration of his graphic art and this exhibition, largely drawn from LACMA’s collections, covers seven decades of his career, from his conventional early drypoints to the radical approach to etching of the 1930s when he began his close association with Roger Lacourière and his later innovative collaborations with Fernand Mourlot for lithography and Hidalgo Arnéra for linocut printing.
Compton Verney, Warwickshire
15 October – 11 December 2016
Featuring over 70 works from the collection of the Museum Kunstpalast in Düsseldorf, this exhibition traces Picasso’s evolving artistic vision through four decades of experimentation in printmaking techniques and subject matter.
Fondation Pierre Gianadda, Martigny, Switzerland
18 June – 20 November, 2016
Exhibition marking the 30th anniversary of Picasso’s last wife and final muse, Jacqueline Rocque. Presents a selection of more than 110 items of Picasso’s ceramics, engravings, paintings and sculptures from the mid 1950’s to his death in 1973, many of which feature Jacqueline as his model. During the first ten years of this period, Picasso revisited masterpieces from the past: Delacroix (Les Femmes d’Alger, 1954-1955), Velázquez (Las Meninas, 1957), Manet (Le Déjeuner sur l’herbe, 1959-1961), Poussin and David (L’Enlèvement des Sabines, 1963). After 1963 Picasso focussed on the painter and his model. In 1963 alone Jacqueline is represented 160 times in the artist’s work. In addition to the paintings, the exhibition also reveals Picasso’s skills in other forms of expression: printmaking in the form of etchings, lithographs and linocuts; sculpture and ceramics. Accompanied by a catalogue (in French).
Exhibition (having toured from the Barnes Museum, Philadelphia) inspired by CMA’s Picasso Still Life with Compote and Glass, 1914–15. It features some 50 works drawn from major museums and private collections from around the world. The exhibition explores how Picasso’s work was affected by the tumultuous years of the First World War, when the artist began experimenting with both cubist and classical modes in his art. Important canvases by Picasso’s contemporaries—including Henri Matisse, Amedeo Modigliani, and Diego Rivera— are also shown. The exhibition also features four costumes designed by Picasso for the avant-garde ballet, Parade, which premiered in Paris in 1917 and was the first cross-disciplinary collaboration of its kind. Picasso was the first avant-garde artist involved in such a production. The exhibition will be reviewed by The Burlington Magazine post July 2016. As a complementary display to the main exhibition the CMA will also be showing Pablo Picasso: 25 Years of Edition Ceramics, created by the artist in the decade following 1946 in collaboration with Georges and Suzanne Ramie of the Madoura pottery.
Nathan Cummings Building for Modern and Contemporary Art Israel Museum, Jerusalem
7 July – 19 November, 2016
Featuring several hundred works from the Israel Museum’s collection, complemented by notable loans from major museums worldwide showcases Picasso’s artistic evolution, experimentations, and virtuosity from the turn of the 20th century to 1970. Emphasizing Picasso’s graphic works, this exhibition demonstrates the artist’s lifelong interest and extraordinary versatility in drawing and printmaking. Picasso meticulously dated his prints, particularly in his series, keeping close track of the development of his art. The works on view, executed in all of the most important printmaking techniques – etching, engraving, drypoint, aquatint, lithography, and linocut.
Museo Picasso, Málaga
14 March – 11 September 2016
Exhibition of 43 works selected from the museum’s own collections of drawings, prints, illustrated books and ceramics focusing on one of Picasso’s artistic obsessions, the gaze, displayed as a chronological survey beginning with The eyes of the artist and concluding with the Head of the Bearded Man II and allowing the viewer to follow Picasso’s stylistic and technical variety.