We have asked Montse Morales to write a text about the Big Draw. As someone who has known the Big Draw since its early days in London, she had been looking for an institution that wanted to bring the Big Draw to the city, and it was she that offered us the idea, made us understand it, and encouraged us to go ahead with it.
Montse is a psychologist and professor of Visual and Plastic Arts Education; responsible for the art section of the children’s and youth’s magazine Cavall Fort and coordinator of the Urban Culture blog of the Master’s Degree in Environmental Intervention from the University of Barcelona, from where she has carried out numerous studies about topics related to childhood and the city.
Pencils ready! The “Big Draw, la Festa del Dibuix” has arrived! For the fourth year in a row the museum is celebrating this festa dedicated to drawing. Initially organised by The Campaign for Drawing, the project has become spread all over the world. Next Sunday, October 20th, you will be able to enjoy 25 free workshops from 11am to 7pm. For sure you won’t stop drawing!
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
On February 28th the Museu Picasso organised a seminar entitled The pastel technique: specificities of its conservation and restoration.
This autumn we are carrying out various changes in the works of the Collection both of the paintings as well as the works on paper. Due to questions of preventive conservation it is important to change the works on paper every three months: in this way, and given the fact that we have a very large collection of these works, the rotational system lets us see the various works that Picasso did in this format, at the same time as applying suitable criteria for the conservation of works on paper.
Parle-leur de batailles, de rois et d’élephants, by Mathias Enard, was a terrific starting point for a discussion not only of the novel itself (about the mysterious and undocumented journey that Michelangelo made to Istanbul to design a bridge for the Golden Horn that would connect the two halves of the city) but also of other issues more or less related to the text, from the representation of otherness and the conflict between Orientalism and the reality of the East to Picasso and the great artists that in one way or another we read through Michelangelo and his way of thinking and practising total art. The conversation was very interesting and the large turnout participated enthusiastically.
On Sunday 23 October we celebrated the second annual Big Draw Festival of Drawing, an initiative originally launched in London that explores drawing not only as a creative medium but also as a great form of communication, learning and recreation for people of all ages.
The Palazzo Giulia Rosselmini Gualandi, a magnificent Renaissance mansion on the banks of the Arno, is home to the Fondazzione Palazzo Blu, and is hosting the exhibition “Ho voluto essere pittore e sono diventato Picasso” — I Wanted to Be a Painter and I Became Picasso. This is the first ever show of Picasso’s work in the city of Pisa and it runs from 14 October 2011 to 29 January 2012. The major retrospective brings together some two hundred works, including paintings, drawings, ceramics and etchings, and traces Picasso’s output from 1901 to 1970. The show has been organized and coordinated by the Giunti Arte Mostre e Musei cultural council, and was curated by Claudia Beltrami Ceppi.
We have been collaborating with the Hospital de Sant Joan de Déu for two years now, by way of the volunteers department, and we would like to think that the girls and boys with whom we have been involved during this time have benefited in some way from the activities we offer. People tend to respond to the experience of being in hospital in different ways, but it’s important to remember that children are children, and need to have fun, to laugh, play and have a space of their own.
After a project that people have put a lot of hours, energies and hopes into it always takes a little time to put your emotions in place again and look back on the whole thing and evaluate it, and go on from there to plan future on the strength of all that has been learned.
In the case of Big Draw, all of us in the team have been going through this process. And at this very moment of immersion in the assessment, both positive and negative, and the planning of where to go in order to make the project grow — which we are now — we have just received a wonderful letter from Eileen Adams, Director of The Campaign for Drawing, the creators and organizers of this venture in London.
Read more »