In the review of the inhabitants of the Museu Picasso, we take a stop at the figure of Pere Romeu, who we refer to as the soul of the Quatre Gats. A bohemian character and cultural promoter – but without capital for carrying out his projects, Romeu is the protagonist of some of the drawings that Picasso did in Barcelona’s legendary tavern and that form part of our permanent collection.
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“The contrast between Picasso and Canals was startling for those who saw them together. Canals, tall, thin, pale, cold, with the blue eyes of an innocent child; Picasso, short, dark, compactslippery, restless, disturbing, with dark, deep, penetrating, strange, almost fixed eyes”. This is a fragment from the memoires of Picasso’s lover Fernande Olivier, which says a lot, in spite of only concentrating on the physical features of the two characters, about the relation between Ricard Canals and the artist from Malaga. Painter and engraver, Ricard Canals (1876-1931) was one of the friends from youth of Picasso, who he probably met would ...
The space between the historic building of the Museu Picasso and the Centre of Knowledge and Research holds the name of plaça de Raimon Noguera or, as we refer to it in a colloquial way, Pati Noguera (The Noguera Courtyard). Since December 2017 there has been a plaque in the memory of this Catalan jurist who was a key character for the constitution of the museum, as we’ll explain in this article.
Since the large loan of works of the Museu Picasso of Barcelona for the major retrospective of the artist of the Museum of Modern Art of New York in (MOMA) in 1980, never have so many of our highlights from the collection left the museum at one time. But on the occasion of the exhibitions of Masterpieces at the Musée Picasso, Paris and Picasso. Blue and Rose at the Musée d’Orsay, around sixty works of the museum travelled to the French capital last September where they remained until the closing of the two exhibitions at the beginning of January. Now ...
The photograph at the top of this article by Lucien Clergue, corresponds to the unique cinematographic scene of Pablo Picasso, excluding documentary images. The film was The Testament of Orpheus, directed by the French filmmaker Jean Cocteau in 1959, and apart from Picasso there were also appearances by his second wife Jacqueline Roque, the bullfighter Luis Miguel Dominguín and the actress Lucia Bosè.
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