Few testimonial voices remain from the inauguration of the Museu Picasso, back then on March 9th 1963, a date that went on to form part of the history of our city, of our country.
Assumpta Escudero Ribot (1931) didn’t attend the opening event: however her professional and personal situation made her an exceptional witness.
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 21 September 2012, David Douglas Duncan called me to tell me he would like to donate a number of his photographs on Picasso. I suggested he could present the donation on the same day that the Museum was to celebrate our fiftieth anniversary, on 9 March 2013. We continued to talk over the phone and send each other faxes, DDD’s usual mode of communication. On the following 5 October, after DDD had discussed the production of these new prints with the Harry Ransom Center of the University of Texas in Austin, the archive to which he had donated the negatives of his works in the 1990s, he postponed the presentation date to 25 October, Picasso’s birthday.
From October 11th onwards you can see in the galleries of the museum the exhibition “Journey through the blue: La Vie” organised by the Museu Picasso of Barcelona in collaboration with the Cleveland Museum of Art.
The catalogues of exhibitions have a double life. On the one hand, they are the testimony of a temporary and short-lived event that gathers together a series of works and documents in one place and in one space, selected by the curators to illustrate or suggest an idea, a thesis, that structures and covers both the exhibition and the catalogue. On the other hand, once the period of time has passed in which we are allowed to live the experience of the exhibition, the catalogue loses this original temporality and becomes an essay, a specialised monograph.
All this preamble leads us to speak about the catalogue of the exhibition “Yo Picasso. Self-Portraits” that the Museu Picasso of Barcelona presented until September 1st, the curators of which being Eduard Vallès with Isabel Cendoya.
As each year, the museum doesn’t close for holidays and during the month of August you can come and enjoy the exhibitions and activities we offer. Here are a few recommendations:
· Exhibition “Yo Picasso. Self-Portraits”: this is the first major monographic exhibition about Picasso’s self-portraits and covers more than 70 years of his artistic production.
On July 4th the second exhibition dedicated to celebrating the 50th anniversary of the creation of the Museu Picasso was inaugurated. The exhibition will be on until November 24th and is entitled “50 years of the Museu Picasso in Barcelona. The Collection”.
The work Las Meninas has returned from its loan, first to the Guggenheim Museum of New York and subsequently to the Museum of Fine Arts of Houston, in the exhibition “Picasso Black and White”. The work can now be seen again in Gallery 12 of the museum. Here you can find some of the images from the photo album of its journey:
This past month of May, the roundtable about “Picasso in the Barcelona of the 60s” took place, bringing together expert historians, writers and architects to talk about the context of the birth of the museum within the framework of the exhibition that celebrates the 50th anniversary of the museum “The Museu Picasso, 50 years in Barcelona.The Origins”.
Tags: #MuseuPicasso50, 60s, architecture, Barcelona, College of Architects of Catalonia, culture, Exhibitions, history, literature, Museu Picasso, Picasso, politics, Porcioles, Publications, roundtable
We started this exhibition project more than three years ago, the only way in which an exhibition of such a size could have been developed. We presented the project to the Museu Picasso at the beginning of 2010 and it was accepted straight away, so it was necessary to get working quickly. The first question we asked ourselves was, obviously, if it had been done before. There existed some precedents but limited to a part of the exhibition, and not to its totality (specifically, the extraordinary “Picasso and Portraiture”, shown at the MoMA in 1996, the curator of which was William Rubin and with a text about self-portraits by Kirk Varnedoe). All in all, as of today no monographic exhibition has been carried out about the self-portrait in Picasso. From the exhibition point of view, it would seem that Picasso is an overexplored artist, and the inexistence of precedents signified quite a challenge.