Who hasn't felt deceived, or even annoyed, when, on leaving a good exhibition with some magnificent works, you then take a look at the exhibition catalogue? Why is it that the reproductions often seem so far from the reality that just a few minutes before had been recorded on our retina? How is it that the majority of the postcards we want to buy we see as poor or barely faithful to the original? Checking the colour test of the work Portrait of Benedetta Bianco (more…)
About: Marta Jové
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I’ve always liked books with pictures. When I was little I spent a lot of afternoons on the sofa leafing through one of the few books with photographs that we had at home. Years later I worked as editor on a collection of history books, which were also illustrated, and I remember my boss at the time saying that the combinations of images should speak for themselves. Provisional and final versions of a page of the second number of the Focus collection"Picasso 1936. Traces of an exhibition" (more…)
When I started working at the Museu Picasso, six years ago, I was thrilled with the idea of being involved in producing the catalogues that accompany the temporary exhibitions. But I also had a very particular aspiration, the origin of which goes back to 1984. Cover of the petit journal for the Kandinsky's exhibition in 1984. (more…)
Imagine you’re browsing among the art catalogues in a bookshop, without looking for anything in particular. The first thing that strikes you about all of the books there — from a distance, even before you can read the titles — is the colourful covers. Reproductions of famous paintings, intriguing details, familiar styles, indecipherable typefaces… you stroll over to a table next to the shelves and pick up a catalogue. Could you say just what it was that attracted you to it? What made you go for this one rather than some other? If the cover had been different, would have ...
Before I started working at the Museum I knew next to nothing about Picasso. The one thing that really stuck in my memory was something my father told me when I was a little girl: as a boy, the great painter constantly filled the margins of his books with drawings! That and the fact that in 1906 he had stayed in Gósol, the village where my mother was born. Of all the things I have had the good fortune to learn as head of Publications at the Museum, one of the most enjoyable has been the discovery of the places around ...
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