Picasso: The Late Work - Museum Barberini · Picasso (1927–1986). Her daughter Catherine Hutin...

Communication Achim Klapp, Marte Kräher

Museum Barberini Humboldtstr. 5-6 14467 Potsdam, Germany

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PRESS FOLDER Picasso: The Late Work. From the collection of Jacqueline Picasso Press conference March 7, 2019, 11 am Panel:

• Ortrud Westheider, director, Museum Barberini • Bernardo Laniado-Romero, exhibition curator • Valerie Hortolani, curator, Museum Barberini

The press conference will be followed by a tour of the exhibition. FOLDER CONTENTS

• Press release Picasso: The Late Work • "Picasso Then and Now: An Introduction"

(by Bernardo Laniado-Romero) • Facts & figures • Publication • Press images and credits • Event and education program • Barberini Digital • Forthcoming exhibitions 2019/20

The digital version of the press folder on the stick also contains:

• Catalogue Picasso: The Late Work (pdf) • Leaflet • Room plan • Our program

Wi-fi: Barberini_Gast, no password For printer-friendly visuals go to: www.museum-barberini.com/en/press Press images are regularly updated and replenished.




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Press release Potsdam, March 7, 2019 Picasso: The Late Work From the collection of Jacqueline Picasso March 9 to June 16, 2019 Pablo Picasso (1881–1973) is famous for shaking up art in the 20th century, for resetting the bar in painting, sculpture, printmaking, and ceramics. Less well known is the work he did in the last two decades of his life which, as the exhibition Picasso: The Late Work demonstrates, merits reappraisal in all its vitality, astounding freshness and media diversity. All the loans are from the collection of Jacqueline Picasso (1927–1986). Her daughter Catherine Hutin granted permission for the Museum Barberini to show these items rarely seen in public. The selection by guest curator Bernardo Laniado-Romero includes many works that are being displayed in Germany for the first time, and a few that have never been presented in a museum before. In May 1960, when Brassaï met Pablo Picasso again for the first time in almost fifteen years, he was hugely impressed by the artist’s recent work: “But never was I assaulted so brutally as in this villa of La Californie … Art and nature, creation and myth, knights and bullfighting, popular images, Olympus, Walpurgisnacht, all attract your attention … All these things begin to speak at once, competing with one another, pulling you right and left, knocking you over, skinning you alive, reducing you to raw nerves …” At the studio in Cannes, the photographer found himself surrounded by portraits of Picasso’s companion Jacqueline Roque. He could see sculptures and assemblages made of widely disparate materials. Sketches and works on paper using new techniques lay all around. The stylistic variety and the scale of these drafts no doubt contributed to his sense of being overwhelmed. Whereas Picasso’s output in the early years gave rise to distinctly different styles – the Blue Period quite unlike the Rose Period, the exploding shapes of Cubism unrelated to the closed contours of neo-Classicism – , the styles in Picasso’s late work form a synthesis. The media, too, merged: The graphic quality of a line became an expressive element in a painting. In the sculptures, painted surfaces unfold into space, straddling the boundaries between genres. During the last two decades of his life, Picasso’s work took stock of his past. Revisiting his own œuvre, he picked up familiar themes and revitalized them, but he did so in light of current developments and often in dialogue with other artistic works – from the Old Masters to pop art. Picasso developed ideas initiated by Henri Matisse in his cut-outs. The death of his friend and colleague Matisse in November 1954 unleashed a keen interest in his themes – or, as Picasso put it: “When Matisse died, he left me his odalisques as a legacy.” Picasso returned to the sketches he had made in the 1940s in response to Eugène Delacroix’s painting The Women of Algiers. In one of the women portrayed by Delacroix, Picasso recognized Jacqueline, with whom he had recently begun a relationship. The following year, he moved into the villa of La Californie with her and her daughter, Catherine. Jacqueline served as his muse and prompted many of Picasso’s depictions of their home’s interior. The rocking chair, her favorite spot, stands in for her constant presence wherever Picasso was working. Jacqueline Picasso inspired, orchestrated, and administered that overwhelming abundance in Picasso’s studio that Brassaï described. After Picasso’s death, she received an important part of his works when it was divided among his heirs. For the future Musée Picasso in Paris, the French state selected works from all of Picasso’s creative phases from his estate, showcasing the full array of his varied techniques.




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Works from the canonized periods of his oeuvre comprise the bulk of this collection. Picasso’s late work has been best preserved, both quantitatively and qualitatively, within the family – such as the Jacqueline Picasso Collection. It houses pieces which have rarely been seen in the original, although they are well known. They owe their reputation to widely circulated photographs taken by Lucien Clergue, David Douglas Duncan, and Edward Quinn, among others: Picasso and his wife in the studios at La Californie, in the workshop at Mougins to the north of Cannes, and at the family retreat of Château de Vauvenargues in Provence. While the paintings, drawings, sculptures, and ceramics chosen by the state after his death have been accessible to the public at the Musée Picasso in Paris since 1985 – and a representative selection of them were shown in Berlin in the 2005 exhibition Pablo: The Private Picasso, mounted by the city’s Neue Nationalgalerie – many of the treasures from the artist’s studios remained in the family’s possession.

“We are very much looking forward to Picasso in Potsdam! We wish to thank Catherine Hutin, Jacqueline Picasso’s daughter, for agreeing to part with 136 works for the exhibition Picasso: The Late Work. From the Collection of Jacqueline Picasso at the Museum Barberini. Apart from a few exceptions, these are on display in Germany for the first time,” says Ortrud Westheider, director of the Museum Barberini. “In addition to paintings, the exhibition brings together drawings, sculptures, ceramics, and prints, reflecting the creative range of Picasso’s late work. The premiere made possible by this generous loan from her collection illustrates the diversity and enduring topicality of Picasso’s output in the years from 1954 until 1973.”

Picasso’s break with cubism after the First World War puzzled the art world, for his new classicism ran counter to the triumphal march of abstraction. After World War II, which he survived in Nazi-occupied Paris, the artist rejuvenated his œuvre by experimenting with iron sculptures, monumental painting, ceramics, and print-making. In the 1950s and 1960s, Picasso was awarded numerous major commissions such as reliefs in Oslo and Barcelona, murals for the UNESCO building in Paris, a chapel in Vallauris, and the monumental steel sculpture at the Chicago Civic Center created in conjunction with the works on display in the exhibition. The works for this show in Potsdam were chosen by guest curator Bernardo Laniado-Romero, former director of the Picasso museums in Barcelona and Málaga, who was responsible for devising the concept, exhibition and catalog. His curatorial approach is to focus on investigating the artist within his own time, in the decades from the 1950s through the early 1970s. “Picasso continued to reinvent himself all his life. Juxtaposing works from different dates reveals the breadth of stylistic expression that makes this period as dynamic as any other,” comments Bernardo Laniado-Romero. “This exhibition offers for the first time the opportunity to see how Picasso moved towards a raw, loosely defined representation of the figure. It is but one indication of the metamorphosis that took place and of the creative energy manifested during the last years of his artistic career. Picasso’s production displays a strength and an inventiveness that the artist preserved until the very end.”

Picasso Then and Now: An IntroductionBernardo Laniado-Romero

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Pablo Picasso’s preoccupation with the Old Masters during the last two decades of his lifehas been an important part of the discoursearound his work in the past, since a significantpart of Picasso’s output at the time was createdin homage to the artists he admired. There areexamples in this exhibition of the creative dialogues he conducted with such artists asEugène Delacroix, Édouard Manet, and HenriMatisse. It is thoroughly understandable that thiswould be the case. Yet we have failed to look at Picasso’s late period within the context of histime, and this omission has had the effect ofdenying his contemporaneity.

Picasso’s so-called seclusion has by nowattained mythic proportions. At the time itresponded to a desire to work as much as possi-ble without being interrupted by the trappings of a world-famous artist’s life. It is difficult to envision Picasso, even if older, shut away from the events happening beyond the walls of Vauvenargues and later Mougins. It is inconceiv-able that, in his pursuit to create as much and as intensely as he did, he forewent all interest forthe historical present. Because of his retreat, we must not assume, as John Berger did,1 thatPicasso was unresponsive to the various social and artistic movements that emerged during the last decade of his life, a time ofmomentous social upheaval. Nor is it possible that the artist refrained from reflecting on and expressing in his work society’s changingmores, ones that were breaking free from age-old conventions.

Today, we continue to revise our views onPicasso’s late work and overturn the antagonisticreactions it initially engendered. First, there were virulent voices that derided this body ofwork as the outpourings of a decrepit man in the last throes of his life. In the interim theseworks have become better understood.2 I believethe change of generations and the passage oftime have been key, as has the rise of 1980sartists such as Jean-Michel Basquiat, which has allowed us to begin to understand the work of this period. With the exception of some leadingfigures, three of which will be mentioned later, it appears that Picasso’s younger contemporarieslooked but did not see. It is evident that they did not comprehend the extent to which Picassoreinvented his work for the very last time.3

It is sadly ironic that the Museum of Modern Art, New York, which dedicated so muchof its early decades and efforts to canonizingPicasso and his work as preeminent in the art of the twentieth century, would, in 1980, celebratea historic exhibition that rejected Picasso’s lateperiod by ignoring it. There were hardly any late pieces included in a show with nearly a thousand works. The same may be said of manyother museums and educational institutions; for the most part they had reservations and kepttheir distance. In the forty-five years since the artist’s death, MoMA has not dedicated muchattention nor wall space to this period. As mentioned in a recent article by Roberta Smith in the New York Times, it was not until the introduction in 2017 of Long Run, a series of year-long presentations of the late work of manyartists who lived long lives, that the museumfinally began to incorporate Picasso’s late periodinto their narrative of the history of art in thetwentieth century. 4

The rebellious spirit of the 1960s createdan environment propitious for turning the monumental figure of Picasso into an icon to subvert, rebel against, and reject as an anachronism in the age of minimalism and popart. In academia and other intellectual and artistic circles, it became popular to deride himand think of him as a figure from the distant pastthat had become irrelevant to the present.Regrettably, such animosity continues in certainquarters to this day, and so do the damningwords by such respected figures as ClementGreenberg and John Berger.

When organizing an exhibition dedicated to contemporary artists in dialogue with Picassoin 2014,5 many academics, curators, and collectors expressed disbelief, questioning therelevance of such a project since they assumedthere was no interest in Picasso and his work by today’s artists. Two years later, an impressivevideo wall installation6 greeted the visitor at the entrance to the Picasso.mania exhibition.7

In it, several contemporary artists from differentgenerations shared their personal views on

Detail of Madame Z (Jacqueline With Flowers), 1954 (cat. 4)

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1 The Family of Piero Crommelynck, 1970, private collection

2 Willy Rizzo: Portrait of Marisa Berenson,1968

3 The Spanish Woman, 1960–61 (cat. 29)

4 Face With Black Nose, 1969 (cat. 130)

and debt to Picasso. It was moving to see andhear how Picasso continued to play a role, often fundamental, in their development as artists.Their statements were an astounding rebuke tothe decades-long rejections of and proclamationsagainst the artist. Even if the exhibitions mentioned and those that have followed havedealt with the entirety of Picasso’s oeuvre, hisfinal period was an integral part of the reassess-ment. The moment has come for Picasso’s latebody of work to be given its rightful place as “a key element to the evolution at the end of thecentury,” as Marie-Laure Bernadac states.8

The first reassessments of Picasso’s lateperiod were initially presented in exhibitionscurated by Gert Schiff at the Solomon R. Guggen-heim Museum in the United States in 19849

and by Christian Geelhaar at the KunstmuseumBasel in Europe in 1981.10 More recently, WernerSpies’s seminal exhibition and publicationPicasso: Painting Against Time was a landmark in accepting and understanding Picasso’s late work.11

Picasso: The Late Work. From the Collectionof Jacqueline Picasso was conceived in the hope that it would contribute to a better under-standing of this period by presenting a large number of barely known works of outstandingquality. The paintings, drawings, sculptures, prints,and ceramics in the exhibition are filled with a strength and an inventiveness that attest to the relentless process of innovation Picasso carried out throughout his life until the very end.

Picasso in the Context of His Time

There is more to the late period than its references to the Old Masters. Picasso continuedto conceive and create art that reflected thetimes in which he lived. Whether through form orcontent, his work contained evidence, referred

to directly or indirectly, that he was attentive toand observant of the world around him. News -papers and magazines, television and movies, andthe books and catalogs that were constantlyflowing in were very much part of his life. So toowere his interactions with his young collaborators,the printers, ceramists, and technicians withwhom he had extended contact. There were also the photographers that befriended him andwere allowed to spend periods of time photo-graphing him, and those who had been a constantin his life, the dealers and friends, even if they, as age and death took their toll, dwindled in numbers.

Up-to-date imagery often came through the media, whether printed or televised. Televisionwas not only a means by which Picasso keptabreast of the news and was entertained, but wasa source of inspiration as well (see the essay by Markus Müller, pp. 48–57).12 Similarly, as we have often seen in photographs of the period(see figs. p. 227), his homes and studios were filled with newspapers and magazines of all kinds.There were general interest periodicals, as wellas ones specialized in bullfighting,13 and the style and fashion ones Jacqueline read. 14 After all,print media had been an integral part of his lifeever since he was a child looking through hisfather’s art publications.

Soon after the Algerian struggle for inde-pendence was first reported, Picasso beganthe series of works in dialogue with Delacroix’s The Women of Algiers (cat. 21, 22, see fig. p. 51,and the essay by Michael FitzGerald, pp. 58–73).After it had reached its conclusion, he continuedto work on thematically connected variations. In doing so, he honored a people under duress while exalting their identity. Through his work, hewas able to dignify those who by their very identity were disregarded by society. We onlyhave to think of the Blue Period to find prece-dents.

At times, props were used that appear tobe a means of codification, not dissimilar to the role played by the wallpaper used within thepapiers collés of the 1910s.15 For instance, thescarves found in some of Jacqueline’s portraits(cat. 23, cat. 24) are clearly connected to theexotic world of Delacroix’s masterpiece (see thechapter “Masquerades: Images of Affection,”pp. 96–109), yet they are also a representation

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of the gypsy-inspired scarves many women would wear on their heads over the following twodecades. In layers of meaning, Jacqueline is portrayed within an art historical variation on aDelacroix-inspired character while she may havealso been seen as a woman modishly ahead ofher time. Today, it would be read as an innocuousfashion statement. Then, it was a sign that dailylife was no longer strictly codified but could very well be sourced from popular culture, or further still, from cultures that had been deemedundesirable. The past and the present inter-twine to create an imagery that, like some ofPicasso’s oeuvre, rises from the past, butremained very much of his time.

Picasso’s ability to observe, retain, andtransmit in his work what he had seen had not waned over the years. He may no longer havebeen out and about, but nothing escaped him.Through his work he became friendly with theprinter brothers Aldo and Piero Crommelynck, tothe point that Picasso depicted Piero’s family several times. The manner in which he chose todraw The Family of Piero Crommelynck in 1970(fig. 1) is as telling as it is fascinating. It is basicallya portrait of a nuclear family mother, father, and child but in a time capsule. They are captured as if in an anthropological study of theera’s young families and all that they entailed at the time.

No detail from the changing world of the1960s escaped him. Picasso was aware of the latest trends, such as when women’s eyesbecame the focal point of the face. A photographof an iconic beauty of the time, Marisa Berenson(fig. 2), makes this apparent, as does a drawing of Landa, Piero Crommelynck’s wife, and her family (fig. 1). There are a number of pieces whereone finds overly stylized eyes as a code foraccentuating the sensuality of a given figure, evident in The Spanish Woman, 1960–61 (fig. 3,cat. 29), Face With Black Nose, 1969 (fig. 4,cat. 130), Musketeer and an Odalisque-Medusa,1970 (cat. 105), and Young Women Resting With a Pensive Degas, 1971 (cat. 97), to name

a few. As minor as it may appear, a new coded,representational element was introduced into hiswork. Yet it had originated in women’s prevalentmode of self-decoration during this period.

The profusion of male figures stands outduring the last decade of Picasso’s oeuvre (see the chapter “The Late Paintings: Monumen-talism and the Male Figure,” pp. 204–23). Among the musketeers, hidalgos, and bullfighters, we find a few men of a certain age difficult to place. At times, a straw hat, a pipe, or a sea barely discernable in the background help us identify the figure as some kind of seafarer or fisherman(such as cat. 120). In similar instances, a propsuch as a hearing device may be employed to addanother layer of meaning, a coded narrative that speaks of the travails associated with physi-cal shortcomings (cat. 122). Similarly, Portrait of a Man with a Sword and a Flower16 (private collection) refers to Velázquez’s empathetic portrayal of the dwarf El Primo (Museo Nacionaldel Prado, Madrid).17 The unifying factor in theserepresentations is the overriding dignity withwhich Picasso endowed these men, catapultingthem into monumentalized symbols of sorts.

In some works, we find sinuous lines and deformation of body parts that bring to mind

mannerist paintings such as those from theschool of Fontainebleau. However, no attentionhas been given to the work of contemporary photographers who, like Picasso, worked extensively on the representation of the femalebody. Bill Brandt’s experimentations with a wide-angle Kodak produced images of body partsthat grew exaggeratedly when placed up close to the picture plane (fig. 5). In Picasso’s work, this period is populated with figures of both sexeswith similarly unrealistic extremities as thosefound in Brandt’s work from the 1950s. In TwoWomen Romping on a Beach Mat (fig. 6, cat. 82)and Figure from 1971 (private collection),18 Picassomay have had in mind the historical referencesalluded to earlier, but it is also likely that he mighthave known the work of contemporary artistssuch as Brandt who was by then highly regarded.

During the 1960s, we find a color schemeof great intensity that is particular to this period. I am not referring to the rich colors from the previous decade found in the La Californie andLas Meninas series, both imbued with Matisse’sspirit (see the essay by Brigitte Leal, pp. 18–27).

5 Bill Brandt: Nude, Belgravia, London, 1951

6 Two Women Romping on a Beach Mat,no. 285 from Suite 347, 1968 (cat. 82)

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Rather, I write of pieces such as La Pique (cat. 113)and Jacqueline in a Chair (fig. 7, cat. 48), whichboth share the strident hues of the linocut realized soon after, The Luncheon on the Grass,After Manet (I) (cat. 91). Picasso’s work in linocut with the young printer Hidalgo Arnéraintroduced a color tonality that differed from hiscolor scheme and brings to mind the work of contemporary graphic designers.

Picasso’s use of vibrant color during thisperiod has been connected to Vincent van Gogh’sMediterranean palette. However, it is more apt toconnect the previously mentioned examples, as well as later paintings such as The Adolescentfrom 1969 (private collection),19 and Figure (private collection) and Man (cat. 135), both from1971, with the psychedelic colors favored byartists, photographers, and illustrators of the1960s. Andy Warhol’s 1967 “pink Marilyn” (fig. 8),the 1967 solarized John Lennon photograph by Richard Avedon, the promotional poster for the musical Hair by Ruspoli-Rodriguez (fig. 9), orthe Yellow is Black fashion illustration by AntonioLópez are contemporary images, drenched in saturated colors, by artists who, like Picasso,were very much of their time.

The freedom found in Picasso’s brushworkduring this period, more energetic than everbefore, cannot be rationalized as a race againsttime. We know he was aware of the work ofabstract expressionists such as Willem de Kooning and Jackson Pollock.20 It is difficult notto see in the 1950s work of de Kooning a sharedpassion for the materiality of the medium theexpressionistic brush work, the paint matter that drips and bleeds over. They seem kindredspirits running in parallel directions, different,chronologically disparate, but sharing the intensity that a love for the handling of the paintmust have given them.

Jean Dubuffet is an artist that Picassoappreciated.21 He likely found the French artist’stheories interesting, especially those related to children’s art. Picasso purportedly said “it tookhim a lifetime to learn to paint like a child”22 or, as Pierre Daix reports, “[…] to unlearn what weknow too well in order to find the novelty of a newdiscovery.”23 It is interesting to note both artistsfound a need to move towards a raw, looselydefined manner in which to conceive the figure,one that was comparable to children’s art. We

only have to look at the controlled treatment inthe faceted body of Jacqueline Seated With a Catof 1964 (cat. 60) and compare it to the 1967 Two Nudes in a Landscape (cat. 107), or many of the paintings from 1971. This comparisonmakes evident the transformation that took placein the way the body was represented. The affinities in the treatment of the figures by bothartists is no more apparent than in Dubuffet’s 1961 Figure in Red (fig. 10), and Picasso’s 1972Man With a Baton (fig. 11, cat. 128). It is of paramount importance to contextualize Picasso’swork from this period with the output of younger artists. There are others such as PhilipGuston, Antonio Saura, and Francis Bacon24

or Karel Appel and Pollock, to name but a few,that should also be taken into consideration. It is within the 1950s and 1960s context of their work that we are able to better understandand appreciate Picasso’s late work.

When the paintings from Picasso’s very lastyears were first exhibited at the Palais des Papesin Avignon in 1971 and 1973, he was attacked forthe shapeless body configurations, the haphazardapplication of the paint, and the strident colorschemes. But these were at the core of his newand revitalized art. They evidence the great meta-morphosis that took place during the last fewyears of his artistic career, changes that many didnot comprehend. Picasso worked tirelessly andkept on pushing his own boundaries until he couldno longer work, and, just as he had done hisentire life, he never stopped experimenting andexploring.

7 Jacqueline in a Chair, 1962 (cat. 48)

8 Andy Warhol: Marilyn Monroe, 1967,Museum of Modern Art, New York

9 Poster for the musical Hair, 1969, photographed by Steve Curry and designed by Ruspoli-Rodriguez

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1 One of John Berger’s accusations against Picasso was that he was “too rarely painting subjects of immediate socialand political importance,” see Gert Schiff, Picasso in Per-spective (Englewood Cliffs, NJ: Prentice Hall, Inc., 1976), 15.

2 On the contribution of other pertinent figures in the revisionist process for this period, see Werner Spies, “Painting Against Time,” in Vienna 2006b, 14–43.

3 The preeminent New York Times critic at the time, JohnRussell, while writing a critique of Gert Schiff’s exhibitionPicasso: The Last Years, 1963–1973, berated unnamed histo-rians and critics for dismissing the late work. See John Russell, “The Last Decade of a Glorious Career,” The NewYork Times, February 26, 1984, accessed January 21, 2019,www.nytimes.com/1984/02/26/magazine/picasso.html.

4 The museum only owns two late works, one of which wasdonated by the artist’s widow, Jacqueline Picasso, a dona-tion that the museum and William Rubin could not afford torefuse. For the full article, see Roberta Smith, “MoMAUpends Its Collection to Celebrate Late Careers,” The NewYork Times, December 28, 2017, accessed January 21, 2019,www.nytimes.com/2017/12/28/arts/design/the-long-run-exhibition-review-museum-of-modern-art.html.

5 The exhibition Post-Picasso: Contemporary Reactions wascurated by Michael FitzGerald and presented at MuseuPicasso, Barcelona in 2014, see Barcelona 2014.

6 The video installation Picasso: Sortoffabulous was directedby Laure de Clermont-Tonnerre and Diana WidmaierPicasso, 2015.

7 The exhibition Picasso.mania was curated by DidierOttinger, Diana Widmaier Picasso, and Emilie Bouvard, presented at the Grand Palais, Paris in 2015, see Paris 2015.

8 Marie-Laure Bernadac, “Picasso 1953–1973: Painting asModel,” in London 1988, 49.

9 The exhibition Picasso: The Last Years 1963–1972 wasorganized by the Grey Art Gallery & Study Center, New YorkUniversity and presented at the Solomon R GuggenheimMuseum, New York in 1984, see New York 1984.

10 The exhibition Pablo Picasso. Das Spätwerk. Themen 1964–1972 was curated by Christian Geelhaar and pre-sented at the Kunstmuseum Basel in 1981, see Basel 1981.

11 The exhibition Picasso, Painting Against Time, curated byWerner Spies, was first presented at the Albertina, Vienna,in 2006, then traveled to the Kunstsammlung Nordrhein-Westfalen, Düsseldorf in 2007, see Vienna 2006b.

12 An exhibition on the topic, Picasso devant la télé, was presented at the Cabinet des arts graphiques, Musée d’artet d’histoire, Geneva in 2013, curated by Laurence Madeline.In 2014, the Kunstmuseum Pablo Picasso in Münstershowed the exhibition Picasso TV – Picasso sieht fern!, see Münster 2014.

13 While visiting the artist’s studio in Vauvenargues on March23, 2009, several newspaper and bullfight magazines werevisible on the table where he kept his brushes and otherpainting materials.

14 As reported to the author by David Douglas Duncan on anunrecorded date in 2016.

15 For a discussion of the role played by the various wallpaperdesigns within the papiers collés, see Elizabeth Cowling,“What the Wallpapers Say: Picasso’s Papiers Collés of 1912–14,” The Burlington Magazine 155 (September 2013):594–601.

16 Pablo Picasso, Portrait de l’homme à l’épée et à la fleur,August 2 and September 7, 1969, private collection, ZervosXXXI, 449.

17 Diego Velázquez, The Buffoon El Primo (1644, MuseoNacional del Prado, Madrid). The buffoon El Primo was formerly identified as Sebastian de Morra. The painting ispart of a series of portraits of royal companions and jesters in the Spanish royal court characterized by the un precedented dignity with which Velázquez portrayedthem.

18 August 14, 1971, Zervos XXXIII, 114.19 August 2, 1969, Zervos XXX, 341.20 Daix 1987, 351.21 Ibid., 350.22 Peter Erskine, Drum Perspective (Milwaukee, WI: Hal

Leonard, 1998), 73.23 Pierre Daix, La vie de peintre de Pablo Picasso (Paris:

Éditions du Seuil, 1977), 401, note 17. Translated here by the author.

24 Suggested by Pepe Karmel, email to the author, September 28, 2017.

10 Jean Dubuffet: Figure in Red, 1961,Museum of Modern Art, New York

11 Man With a Baton, 1972 (cat. 128)




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Facts & Figures Picasso: The Late Work. From the collection of Jacqueline Picasso

Exhibition dates: March 9 to June 16, 2019 Exhibited works: 136 paintings, drawings, prints, sculptures, ceramic objects: 70 paintings, 30 drawings, 15 prints, 13 sculptures, 8 ceramic objects All these works are from Jacqueline Picasso's collection. Curators: Bernardo Laniado-Romero (guest curator) Associate curator: Valerie Hortolani (Museum Barberini) Floor area: approx. 1,200 m² Exhibition design: Gunther Maria Kolck, Hamburg, and BrücknerAping, Büro für Gestaltung, Bremen Address and admission: Museum Barberini, Alter Markt, Humboldtstrasse 5–6, 14467 Potsdam Daily except Tuesdays 10 am – 7 pm, every first Thursday in the month 10 am – 9 pm Mon– Fri (except Tue) schools and kindergartens by prior arrangement 9 – 11 am Tickets: € 14 / concessions € 10 / children and under 18s free Annual membership € 30 individual / € 50 couple / Young Friend (under 35) € 20 Time tickets online at www.museum-barberini.com




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Publication

Picasso: The Late Work. From the collection of Jacqueline Picasso

Catalogue and exhibition: Bernardo Laniado-Romero Associate curator: Valerie Hortolani Edited by Ortrud Westheider and Michael Philipp With essays by Olivier Berggruen, Michael FitzGerald, Cécile Godefroy, Valerie Hortolani, Bernardo Laniado-Romero, Brigitte Leal, Luise Mahler, Géraldine Mercier, Gabriel Montua, Markus Müller

Hard cover with dust jacket, 248 pages, 24.0 x 30.0 cm, 200 color illustrations ISBN: 978-3-7913-5811-6 From the Museum shop € 29.95, from the book trade € 39.00 Prestel Verlag, Munich 2019 Contents: Essays:

• Picasso Then and Now: Changing Interpretations of the Late Work (Bernardo Laniado-Romero)

• The Interior Landscapes of La Californie (Brigitte Leal) • Painting as Drama: Picasso's Late Paintings (Olivier Berggruen) • The Last Concert in Arcadia: The Figure of the Musician in Picasso's Late Work

(Cécile Godefroy) • Travesty and Paraphrase: Picasso's Late Prints and Their Sources (Markus

Müller) • Crucibles of Reputation: Picasso's Retrospectives During the 1950s and 1960s

(Michael FitzGerald) Chapters:

• Jacqueline and Her Time: Portraits of a Relationship (Bernardo Laniado-Romero)

• Disguises: Images of Affection (Bernardo Laniado-Romero) • Inside and Outside: Interiors and Landscapes (Luise Mahler) • Studies and Fragmentations: A Focus on the Figure (Valerie Hortolani) • Nudes: The Artist and His Models (Bernardo Laniado-Romero) • Chords: Music and Dance as Visual Forces (Gabriel Montua) • Rites: Bullfighting and Mythology (Valerie Hortolani) • The Late Paintings: Monumentalism and the Male Figure

(Bernardo Laniado-Romero) • Picasso from 1954 to 1973: A Chronology of His Late Work (Geraldine Mercier)




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Pablo Picasso, Madame Z (Jacqueline with Flowers), 1954, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain

Pablo Picasso, Jacqueline in a Rocking-Chair, 1954, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain Pablo Picasso, Jacqueline, 1957, collage, charcoal on paper and industrially produced wrapping paper, metal ribbon and adhesive, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain




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Pablo Picasso, La Californie, 1956, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain

Pablo Picasso, Man, 1971, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain Pablo Picasso, Standing Woman, 1958, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain Pablo Picasso, Jacqueline in a Turkish Costume, 1955, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain




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Pablo Picasso, Jacqueline Seated with a Cat, 1964, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain Pablo Picasso, The Matador, 1970, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain Pablo Picasso, Reclining Nude with a Crown of Flowers, 1970, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain Pablo Picasso, Seated Woman, 1971, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain Pablo Picasso, Head of a Man, 1971, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain




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Picasso on the terrace at La Californie, private collection. Photo: Jacqueline Picasso, © Coll. Jacqueline Picasso/VG Bild-Kunst, Bonn 2019 Picasso in his studio, private collection. Photo: Jacqueline Picasso, © Coll. Jacqueline Picasso/VG Bild-Kunst, Bonn 2019 Picasso in the studio at La Californie, private collection. Photo: Jacqueline Picasso, © Coll. Jacqueline Picasso/VG Bild-Kunst, Bonn 2019

Please note that in the case of these three photographs it is entirely your responsibility to settle all the requirements relating to copyright and rights of use. If you have any questions about rights, please contact [email protected]




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Events and Education The exhibition Picasso: The Late Work is accompanied by a rich program of events and outreach, including lectures, guided tours, discussions, concerts and videos. The Berggruen Collection, the Bode Museum, the Kupferstichkabinett and the Gemäldegalerie at the Staatliche Museen zu Berlin are working with the Museum Barberini at joint events to draw attention to Picasso in both Berlin and Potsdam. Several guided tours are held every day, inviting the public to discover Picasso's late work. Following the huge demand for our kid's activities on Saturdays, a second two-hour event will now also take place at 3 pm on Sundays. At numerous open workshops, participants will look to originals in the exhibition as inspiration for their own creative output. Lectures and concerts will investigate key aspects of Picasso's art in greater depth and breadth. The art breakfasts, yoga and many more events round off the Museum experience. www.museum-barberini.com/en/events Education program at the Museum Barberini With guided tours, workshops and events for different age groups and interests, the Museum offers all our visitors a chance to explore our exhibition themes in greater depth. The Museum Barberini reaches out to a great many visitors by running some 3,000 events a year. Groups and individuals take up these wide-ranging offers, with more than ten events held on an average day. Guided tours open to all take place every day at 11 am, 12 noon and 3 pm, with an additional tour on Thursday evenings at 5 pm. Art historians and art teachers explain the contents of our exhibitions in both theoretical and practical terms at workshops in the Museum studio. Here anyone can indulge the creative impulse, trying out motifs and techniques encountered in the originals in creative activities of their own. No previous knowledge is required. For children and teenagers of all ages, the program offers a playful introduction to original works. Specially tailored tours and workshops, designed to reflect the needs of the age group, kindle the imagination, stir curiosity and encourage pleasure in creativity. In our studio, youngsters can practice techniques for themselves and try out their own methods. Moreover, for every exhibition the Museum Barberini designs an audio guide for adults and kids, available either as a smart phone app or on a device borrowed at the entrance.




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Barberini Digital More and more people are using the Barberini App as their personal companion – before, during and after a visit to the Museum. A third of the Museum's visitors already use the Barberini App as a digital guide on their own smart phone or on a device available at the entrance. Apart from audio tours for adults and children, the App offers interviews with curators and experts as well as practical information for visiting our exhibitions. The Barberini App can be downloaded free from the App Store or Google Play. Barberini without barriers To enable all our visitors to enjoy a barrier-free art experience, the Museum Barberini has expanded its wide-ranging outreach program to enhance access, with guided tours for the blind and visually impaired, Sign Language interpreting and texts in simple German. For Museum visitors with disabilities and special needs, specific offers and service information can now be found both on the website and on the Barberini App. During this first phase, we are providing barrier-free outreach and inclusion in several ways:

• for people with impaired mobility, the App contains details about access to the Museum and its facilities

• for the deaf, the App lists forms of assistance and explains how to find readable texts

• for people with basic language skills or learning difficulties, the App contains texts in simple German

• for the blind and visually impaired, there is a specially designed tour of the Palais Barberini featuring audio description; detailed information is available about our guidance systems and appropriate access

• simple German versions of all the room panels in the exhibition are available on the website and on the App.




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Forthcoming exhibitions 2019/20 The Baroque Path: Gallerie Nazionali Barberini Corsini in Rome July 13 to October 6, 2019 The Museum Barberini will be presenting 54 masterpieces from the collections of the Palazzi Barberini and Corsini in Rome, including Narcissus (1589/99), one of Caravaggio’s most important paintings. In the 17th century, as Pope Urban VIII, Maffeo Barberini collected and commissioned paintings which rank today among the most outstanding works of Italian art. This exhibition, the first project devoted to the Old Masters at the Museum Barberini, will illustrate themes and stylistic developments during the Baroque era in Rome. The Museum Barberini on Alter Markt is a reconstruction of the Palais Barberini built by Frederick the Great in 1771/72 in the mold of the Palazzo Barberini. Today the Palazzo Barberini houses one of the leading collections of Italian paintings. It combines with the collections in the Galleria Corsini to constitute the Gallerie Nazionali Barberini Corsini. The Prussian Palaces and Gardens Foundation in Berlin and Brandenburg and the city administration of Potsdam will take this opportunity, together with the Museum Barberini, to organize a celebration of Italian art and culture during summer 2019. An app designed as a trail of Roman monuments in Potsdam will map works of art. Gallerie Nazionali Barberini Corsini, Rome, in collaboration with the Museum Barberini, Potsdam. Under the patronage of H. E. Luigi Mattiolo, Ambassador of the Republic of Italy in Germany Van Gogh: Still Lifes October 26, 2019 to February 2, 2020 From his first paintings to the colorful flower images of his later career, Vincent van Gogh (1853– 1890) repeatedly painted still lifes. In this genre, he could try out various media and alternatives – from depicting space using light and shadow to experiments with color. The first exhibition on this theme will present more than 20 paintings and use them to analyze the key stages in Van Gogh’s life and work. In collaboration with the Kröller-Müller Museum, Otterlo, and the Van Gogh Museum, Amsterdam. With loans from the Art Institute of Chicago and the National Gallery of Art, Washington, D. C. Under the patronage of H. E. Wepke Kingma, Ambassador of the Kingdom of the Netherlands in Germany Monet: Places February 29, 2020 to June 1, 2020 The reproduction of fleeting natural impressions plays a central role in the art of Claude Monet (1840– 1926). Like no other Impressionist, he deeply engaged with the topography and specific lighting conditions of the most diverse places, from the metropolis of Paris to the remote Seine villages of Vétheuil and Giverny. The exhibition explores the development of Monet’s art from the 1850s to the 1920s with a focus on the places – both at home and on his travels – from which he drew inspiration for his painting. An exhibition of the Museum Barberini, Potsdam, and the Denver Art Museum

Picasso: The Late Work - Museum Barberini · Picasso (1927–1986). Her daughter Catherine Hutin...

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