Picasso's Drawings, 1890–1921: Reinventing Tradition
October 4, 2011, through January 8, 2012
Works in the Exhibition
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Portrait of Igor Stravinsky
Rome, 1917
Graphite on cream wove paper
Private collection
CAT. 61 |
In this concise, witty portrait of the composer, Picasso maximizes the difference between the bold, summary contour lines and the delicate, precise rendering of thinning hair and spare mustache.
Portrait of Madame Georges Wildenstein
Biarritz, summer 1918
Graphite on Ingres paper
Private collection
CAT. 62 |
In this portrait of the wife of a well-known dealer, Picasso returned to an Ingresque manner.
Woman with a Pitcher
Paris, 1919
Pencil over charcoal on paper
Santa Barbara Museum of Art, Gift of Wright S. Ludington (1946.10.1)
CAT. 64 |
A nineteenth-century photograph of an Egyptian girl was the starting point for this drawing. Here Picasso combines a variety of drawing methods.
Two Ballet Dancers
London, May–June 1919
Graphite on cream laid paper
Collection of Kate Ganz and Tony Ganz
CAT. 65 |
This work lampoons the artificial poses of classical ballet. The figures appear fused together — a two headed creature surrounded by a pinwheel of arms and legs.
Still Life in Front of a Window at Saint Raphaël
Paris, 1919
Gouache and pencil on paper
Nationalgalerie, Museum Berggruen, Staatliche Museen, Berlin (MB 19/2000)
CAT. 66 |
This gouache forms part of a series of some thirty drawings based on the hotel room Picasso and his new wife, Olga Khokhlova, stayed in during their summer on the French Riviera.
Sleeping Peasants
Paris or San Raphaël, August 1919
Gouache, watercolor, and pencil on paper
The Museum of Modern Art, New York, Abby Aldrich
Rockefeller Fund (148.1951)
CAT. 67 |
A well-known print by Millet of peasants sleeping alongside a haystack inspired this creative interpretation. Picasso eroticized the scene and cropped the figures in a tight frame, lending his bucolic subjects a sense of monumentality.
Pierrot and Harlequin
Juan-les-Pins, 1920
Pen and black ink with gouache on cream paper
National Gallery of Art, Washington, D.C., Gift of Mrs. Gilbert W. Chapman (1981.41.2.a)
CAT. 68 |
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Figures from the commedia dell'arte, a favorite subject from Picasso's early years, resurface here in a more abstract incarnation. The even, opaque application of gouache gives this work the look of a mass-produced poster. Yet with carefully placed naturalistic detail in the figures' right hands — knuckles, nails, hairs, and all — Picasso asserts his own hand as the source of the illusion.
Three Bathers by the Shore
Juan-les-Pins, 22 August 1920
Pencil on paper
The Metropolitan Museum of Art, New York, Bequest of
Scofield Thayer, 1982 (1984.433.277)
CAT. 69 |
These bathers appear to have stepped off an ancient Greek vase and onto the modern-day seashore of Juan-les-Pins. Two horizontal lines suffice to articulate the realms of beach, sea, and sky.
Head of a Woman
Fontainebleau, summer 1921
Pastel on paper
Fondation Beyeler, Basel (Inv. 89.7)
CAT. 70 |
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Two Women with Hats
Paris, autumn 1921
Pastel on paper
Private collection
CAT. 71 |
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Woman with Flowered Hat
Paris, autumn 1921
Pastel and charcoal on paper
The Museum of Modern Art, New York, Gift of Jacqueline Picasso in honor of the Museum's continuous commitment to Pablo Picasso's art (454.1986)
CAT. 72 |
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Woman with a Missal
Paris, autumn 1921
Gouache on paper
Private collection. Courtesy Fundación Almine y Bernard Ruiz-Picasso para el Arte
CAT. 73 |
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Woman in a Hat Holding a Missal
Paris, autumn 1921
Graphite [pencil] on paper
Private collection, courtesy of Richard Gray Gallery
CAT. 74 |
Woman with a Missal (above CAT. 73) is one of several large-scale, single-figure compositions that Picasso executed in connection with his urban fountain project (see CATS. 71, 72, and 74). Although in this gouache the artist has not drawn the woman's head, related sketches confirm that she is the same model as in most of the series.
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Major funding for the presentation in New York is provided by Bill and Donna Acquavella, the Stavros Niarchos Foundation, and the late Melvin R. Seiden.
Additional support is generously provided by Walter and Vera Eberstadt, Agnes Gund, the Pierre and Tana Matisse Foundation, the Thaw Charitable Trust, Mr. and Mrs. Julio Mario Santo Domingo, and the National Endowment for the Arts.
The exhibition is also supported by an indemnity from the Federal Council on the Arts and the Humanities.
The accompanying catalogue has been underwritten by the Center for Spain in America and The Christian Humann Foundation.
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