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30.04.14

Restoration of the The frugal repast and the Ovidi’s Metamorphoses

Multiplying the images by means of a copper matrix is the essence of the print. This allows the artist to produce multiple prints that can be acquired and spread around the world.

MPB_110.011
Pablo Picasso. The frugal repast. Paris, September 1904. Etching and scraping on zinc plate, printed on paper. 46,3 x 37,7 cm (plate). 61,4 x 44,3 cm (irregular; paper). Gift of Pablo Picasso, 1970. MPB 110.011

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10.10.13

Travelling through the blue: La Vie and Barcelona Rooftops by Picasso under study

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.

Pablo Picasso, La Vie, 1903, Oil on canvas, The Cleveland Museum of Art, Gift of the Hanna Fund, 1945.24

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20.03.13

The conservation and restoration of pastel

On February 28th the Museu Picasso organised a seminar entitled The pastel technique: specificities of its conservation and restoration.

Restoration detail of the Portrait of the Artist’s Mother

Restoration detail of the Portrait of the Artist’s Mother

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28.11.12

The recuperation of the neoclassical splendour of the Palau del Baró de Castellet of the Museu Picasso

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.

Detail of the cleaning and recuperation process of the original marble-work

Detail of the cleaning and recuperation process of the original marble-work

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13.10.10

Harlequin in Los Angeles: travel notes

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 »


02.08.10

Summer actions at the Museu Picasso: the museum keeps working for quality visits

With the arrival of summer, Barcelonians have more free time and many visitors arrive in the city hoping to have a good time and take advantage of its large cultural offering. The fact that the Museu Picasso is one of the main points of interest in this offering demonstrates that Picasso’s work is of international interest and that the legacy he left to the city of Barcelona continues to be enjoyed by the public. Read more »


11.07.09

5 ideas from “The Museum of the 21st century” talk between Directors of Tate & British

Yesterday in London, Neil MacGregor, director of the British Museum and Nicholas Serota, director of Tate, discussed about the Museum of the 21st Century in front of an audience of 500, at the London School of Economics. The event was coorganized with Thames & Hudson. While the announced podcast is not yet available, here are 5 ideas I’ve chosen from the excerpts publishes in Guardian and in Social media and Comunications:

  1. Museum’s future lies on the internet: the relationship between institutions and their audiences would be transformed by the internet. Museums would become more like multimedia organizations.
  2. The Museum will address audiences across the world and will be a place where people across the world will have a conversation. Those institutions which take up this notion fastest and furthest will be the ones which have the authority in the future.
  3. The future has to be the museum as a publisher and broadcaster: there will be a limited number of people working in galleries, and more effectively working as commissioning editors working on material online.
  4. The growing challenge will be to look for online capacity and encourage curatorial teams to work there as much as they do in the galleries.
  5. In the past, there has been an imperfect communication between visitors and curators. The possibility for a greater level of communication between curators and visitors is the challenge now.

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