Ateneum shows an exhibition spanning all the different periods of Pablo Picasso's art, with some two hundred works on loan from the collection of the Musée national Picasso in Paris: paintings, sculptures, prints and photographs.
The rooms in Ateneum’s exhibition follow Picasso’s oeuvre in a chronological order. The room From the Blue Period to Cubism (1901–07) features e.g. the Celestina painting from the Blue Period and a Self-Portrait representing the Rose Period. Towards Cubism (1907–09) presents several studies for Les Demoiselles d’Avignon. With Cubism (1909–19) Picasso moved to a new kind of visual language, breaking down the form, colours and structure of his subject matter, making the reassembled image show the subject simultaneously from different angles: such as the face from the front and the side at once. There are also collage works of different materials on view.
Pablo Picasso: The Kiss (1969) © Succession Picasso 2009 Kuvasto; © photo RMN / Jean-Gilles Berizzi
From Cubism to Classicism (1914–24) presents an artist who studied old masters in a new light, merging the history of art with modern form and content. A well-known example of the Classicist period, Paulo as Harlequin depicts Picasso’s son. The different periods of Surrealism are represented by numerous paintings and sculptures from 1924–34 and 1930–35. An important inspiration for Picasso at the time was
Marie-Thérèse Walter, who is seen in many depictions of bathing women.
The rooms Spain at War (1936–39) and Years of War (1941–52) focus on war through the eyes of a pacifist artist. Weeping Woman is one of the studies for Guernica, while Bull’s Head was constructed of a bicycle saddle and handlebars during war-time shortage of material. In the final years of the 1930s, the artist also frequently depicted his two muses, Marie-Thérèse and photographer Dora Maar.
Pop Art (1946–70) saw Picasso continue making collages out of found objects: the sculpture Woman with a Pushchair was made of a pram, stove pipes, baking moulds and other junk. The artist also was in dialogue with the old masters, painting the work Le Déjeuner sur l’Herbe after Manet. During the last years of his career (1970–73), Picasso time and again returned to his old subject matter – women, couples kissing, matadors, artists and models. The exhibition shows one of Picasso’s very last paintings, The Young Painter from 1973.
Ateneum Art Museum Website