Opening of “The donation of David Douglas Duncan, II”

Since Thursday October 2nd you can enjoy the second of the exhibitions organised with the snapshots that the international photographer David Douglas Duncan, friend of Pablo and Jacqueline Picasso, donated to the museum on the occasion of its 50th anniversary. The new proposal counts on a selection of images by this photographer which are a documentary testimony of the Picasso’s process of creation.

Duncan II

David Douglas Duncan. Picasso Making a Spanish Platter. La Californie, abril de 1957. Modern inkjet digital print. 50 x 60 cm. Gift of David Douglas Duncan, 2013

The selection of photographs alternate with works of our collection: in some cases the photographs showing artworks are displayed alongside the original piece; in others, they are compared and contrasted with pieces inspired by the same subject matter. In this gallery of images you can see some comparisons of works and photographs, such as The Pigeons, paintedin the studio at his home of La Californie and which form part of the series of Las Meninas.

It is also worth highlighting the graphic documentation by Duncan of the process of engraving and printing of the aquatints that illustrate the book Tauromachy or the art of bullfighting by José Delgado, alias Pepe Illo.

Duncan II tauromaquiaMPB 70.878

David Douglas Duncan. Picasso Working on The Tauromachy. La Californie, 1957. Modern inkjet digital print. 50 x 60 cm. Gift of David Douglas Duncan, 2013 | Pablo Picasso. Parade of the bullfightersJosé DELGADO alias Pepe Illo, La Tauromaquia o arte de torear¸ illustrated with sugar lift aquatints by Pablo Picasso. Barcelona, Gustavo Gili, 1959 (Ediciones de La Cometa). Canes, 1957. Copper plate 20,1 x 30,1 x 0,1 cm. Aportació de l’Ajuntament de Barcelona, 1963. MPB 70.878

According to Malén Gual, conservator of the collection and joint curator of the exhibition, in relation to the thematic continuity of the life and work of Picasso that can be appreciated in the exhibition, she comments: “We can consider the production of Picasso as a combined block. Due to the many changes of rhythm, of orientation, of experiences and of artistic language, many topics from his youth appear and disappear in different stages, especially at the end of his life, when he returns to these motifs that marked his beginnings, such as the cut-outs, the doves, the circus, etc.”

Duncan II periodistes

Photography tribute by journalists and the museum to the photographer David Douglas Duncan. Photo: Cristina Martín

For our director and joint curator of the exhibition, Bernardo Laniado-Romero, “Each of the photographs by David Douglas Duncan is a window on the creative and vital world of Pablo Picasso. They host histories and narratives of a reality that until now had been unavailable to us and that is revealed by these privileged documents. This generous donation is very important for the museum and to get to know the artist better.  The group of images selected uncover realities around the creative processes of his work, information which helps us to understand Picasso’s work and world better.”

In the presentation we did on Thursday morning to the press, we invited Consuelo Bautista, professional photographerto give us her vision, as specialist in photography, about the donation. She highlighted the fact that “there isn’t a single photo by David Douglas Duncan that isn’t planned. […] In this image, for example, we can appreciate movement and simultaneously, time detained.”

Duncan II Colomins

David Douglas Duncan. Dovecot. La Californie, 1957. Modern inkjet digital print. 50 x 60 cm. Gift of David Douglas Duncan, 2013

The exhibition is on view until January 11th, 2015 and it can be visited independently or as part of the permanent collection.

Museum’s newsroom

Related links
Website of the exhibition “The Donation of David Douglas Duncan, II”
Website of the exhibition “The Donation of David Douglas Duncan, I”
The Donation of David Douglas Duncan: A little big story

  • Sally
    November 29, 2014

    La traducción de esta página es abismal.

    La primera palabra “Since …” debería ser “From …”

    Halucinante. Todavía los catalanes no saben emplear profesionales para las traducciones … ¿ en 2014, cuando turismo es el único fuente de ingresos para el país? Quina vergonya.

  • Museu Picasso
    December 1, 2014

    Muchas gracias Sally por la puntualización gramatical, lo comentaremos con nuestro traductor. Decirte que nos esforzamos en proporcionar artículos de calidad con traducciones de calidad aunque siempre puede suceder que se pasen por alto errores tan específicos como éste, cosa que lamentamos. Te devolvemos la cortesía al indicarnos el error informándote que “alucinante” en castellano se escribe sin “h”: siempre es difícil manejarse en un segundo o tercer idioma, y se agradecen los comentarios que ayudan a mejorar.

  • El Blog del Museu Picasso
    December 11, 2014

    Estimada Sally, hemos trasladado tu comentario a nuestro traductor, que nos indica: “¡Buena pregunta! Gramaticalmente, ‘since’ es correcto porque se trata de una acción que empieza en el pasado y continua en el presente. ‘From’ sería correcto si la acción sucediera en el futuro, p.e. ‘From next Monday’. Para el lector puede resultar estraño el uso de ‘since’ en el presente, ya que suele usarse en el presente perfecto, pero no es un uso incorrecto.” Gracias por tu interés, esperamos que este comentario resuelva tus dudas.

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