I had the wonderful opportunity to develop a new artwork to be exhibited at the Museu Picasso, Barcelona for the Art, Ciència i programme of the Festival de Ciència, Tecnologia i Innovació 2014 as part of my project about the relationship of art and Tuberculosis which is called “The Romantic Disease”. The new work was inspired by Pablo Picasso’s 1899-1900 series ¡Pobres genios! (Poor Geniuses) from the museum’s collection, which shows a group of people around a bed of a very sick patient, believed to represent a tuberculosis (TB) sufferer.
The museum participates in the University Master’s Degree of Research in Art and Design organised by the school EINA, by contributing knowledge about the creative process of Picasso. This master’s degree points towards two aspects, on the one hand it takes an in-depth look at the critical theory of art and design, and on the other it debates about how art and design can be ways of researching aspects of the world that produce knowledge.
During this month of May we are carrying out new changes in the works exhibited in the Collection. In some cases, as for example the works on paper, the changes are being done for reasons of preventive conservation, but we are also taking advantage of these modifications to be able to show all the wealth of the Collection following a coherent expositive discourse and bringing to light works which perhaps are not so well known from these periods of Picasso.
Tags:academic studies, Art, Barcelona, Barcelona Rooftops, Collection, drawing, First Communion, Harlequin, Horta de Sant Joan, Jaume Sabartés, Las Meninas, Manuel Pallarès, Margot, Museu Picasso, oil, painter, painting, Picasso, portrait, Quatre Gats, self-portrait, sketches, Spanish tradition
It is a well known fact that museums do not permanently exhibit all the works of their collections. For reasons of conservation or due to the curatorial discourse, a large number of drawings and paintings are systematically changed, turning the Collection into a living organism that is renewed and modified non-stop.
Our Collection is very rich in terms of works on paper – drawings and prints, that, for reasons of preventive conservation, oblige us to change them every three or four months. This allows us to exhibit all the works and even the smallest ones, which take on special relevance by being put in context.
Tags:Art, Barcelona, Benedetta Bianco, blue period, Fernande Olivier, Gored horse, Harlequin, Jacqueline Picasso, Jaume Sabartés, Las Meninas, Margot, Museology, museum, oil, painter, painting, Picasso, portrait, print, renewal, Roofs of Barcelona, sculpture, Senyora Canals, Still Life, The Pigeons, work
We recently welcomed Mark Bessire, director of the Portland Museum of Art, to speak in the seminar on collecting and sponsorship organized by the museum and the Fundación Godia. We felt that his experience in fund raising, although belonging to a very different cultural and economic environment, was not only enlightening but it also provided us with helpful tips as to how to understand the relationship between donors and institutions, so we asked him to let us publish it in our blog.
Artists founded the Portland Society of Art in 1882. While most American museums were founded by industrialists aspiring to gain European sophistication and to bring cultural education to Americans, we were founded by people who wanted to make art and display it for their community.
On Friday 13 April the Museo Picasso Málaga auditorium hosted the fourth celebration of the 4th International Seminar on Art and Law in Malaga, a result of an agreement between the lawyers’ Bars of Málaga, Barcelona and Paris, to organize consecutively a gathering each spring that would provide a forum for the latest developments in the field of law applied to art, and would not be limited to members of the Law career but actively undertake to share and discuss these matters with the other parties involved: museums, galleries, artists, dealers, public authorities, author’s rights agencies, etc.
This week saw the presentation to the press of the ninth annual BarriBrossa, a festival organized by La Seca Espai Brossa that, in the words of co-director Hermann Bonnín, ‘isn’t really a festival, or an arts fair: it aims rather to be a reflection on our culture that sheds light on those avant-garde movements of the twentieth century that are still relevant the twenty-first century’.
The conversation with the critic and curator Valentín Roma, author of Rostros (Periférica, 2012), about Serge Guilbaut’s book How New York Stole the Idea of Modern Art took us on a journey through a series of historical events and ideas fundamental to understanding the visual arts of the twentieth century.
On 15 February, the monumental exhibition “Picasso & Modern British Art” opened to the public at Tate Britain in London. The show traces all of the significant points of connection between Pablo Picasso and the British art scene, from his influence on artists such as Duncan Grant and Wyndham Lewis in the early years of the twentieth century, through the admiration he inspired in such seminal figures as Ben Nicholson, Henry Moore and Francis Bacon, especially between the wars, to the second half of the century, when he was a source for inspiration to Graham Sutherland and David Hockney, among others.
The discussion of Javier Pérez Andújar’s autobiographical novel Los principes valientes — in which he talks about the relationship between the town of Sant Adrià del Besós and the city of Barcelona, about the river as a vital border, about how we build up our imagination with what we read and a whole multifarious mix of cultural myths — was characterized by a warmth that contrasted with the intense cold outside.