Recently two fragments of sculptural elements from the architectural heritage collection of the museum have been restored. They were placed on the ground of the courtyard of the Palau Aguilar, it is not known exactly when, and they have been testimony over the years to the different renovations of the buildings by their successive owners. Even though their origin is still to be determined, due to their formal and decorative characteristics they are perfectly compatible with their whole setting and we can therefore situate them around the 16th century.
Having La Vie in Barcelona is a privilege for the city. The return of this work to the physical space in which it was painted in 1903 takes us back to a period and a setting of creation where the bases of modernity were established.
But as it tends to happen with majorworks, the media reaction of the time eclipsed other more modest creations that remained in second place, far from the critical look. The painting Barcelona Rooftops is a good example of this, and in spite of this oversight it has been a fundamental piece for the conception of this exhibition.
On February 28th the Museu Picasso organised a seminar entitled The pastel technique: specificities of its conservation and restoration.
Thanks to a comprehensive conservation and restoration intervention, carried out over the past few months by the team of restorers of Blanca Lopez de Arriba, Beatriz Montoliu and Jesús Zornoza, the visitors to the museum will once again be able to enjoy this singular decorative ensemble.
The presentation of the process of restoring the Palau Aguilar’s 16th-century polychrome printed wallpaper recovered in 2010 (see the article on the website) was a perfect opportunity for a professional get-together on Monday the 12th.
The director of the Museu Picasso, Pepe Serra, opened the conference with a reminder of the important contribution made by technical expertise (materials, creative processes, etc) in the documentation not only of the museum’s collections and also of its buildings.
If the invention of the lead tube as a container for oil paint enabled the Impressionists to get out of the studio and work in the open air, capturing nature at first hand, the use of industrially manufactured paint provided the ultimate freedom to the artists of the early twentieth century.
Under the title From Can to Canvas, an international colloquium was held in Marseille last May at which restorers and conservators from Europe and America got together to discuss non-traditional painting materials and techniques, putting forward an alternative, complementary vision of the history of art based on the study of the creative process.
Faire parler les murs. Papier peint in situ is the title of the recent conference at the Château de Prangins in Switzerland. The Museu Picasso in Barcelona was invited to present a communication on the ensemble of decorative printed paper from the 16th century, discovered in 2009 in one of the rooms on the ground floor of the Palau Aguilar.
The Château de Prangins is a magnificent building on the shores of Lake Leman. It dates from 1700 and since 1993 has been the home of the Musée national suisse.
Acting as a courier, travelling from one side of the planet to the other, there is always a bit of time to note down one’s key ideas about the journey, the works and the museums.
During the next four months, one of ‘our’ paintings — Picasso’s Harlequin — will be on show in the Los Angeles County Museum of Art (LACMA). Having returned from my trip to Los Angeles to supervise the shipping, I’d like share one or two travel notes with you: Read more »