Picasso Museum Barcelona

Three works of Picasso’s last stage show for the first time in Barcelona

The card player II by Picasso

The Picasso Museum incorporates for the first time, and temporarily until June 20, three works of the last stage by Picasso, “Woman and toiletries aulos II”, “The card player  II” and “Le déjeuner sur l ‘herbe (après Manet) “from the Louisiana Museum of Modern Art in Denmark.

There are three paintings of the last period of the artist, between 1956 and 1971, and both “Women and toiletries aulos II” and “The card player II” is the first time can be seen in Spain, while “Le déjeuner sur l’herbe “I had never traveled to Barcelona, ​​as highlighted by the center’s director, Bernardo Laniado-Romero.

Conservative Malen Gual said that “Women and toiletries aulos II” was held on April 18, 1956 in Cannes, a day in which the artist worked on five works almost the same, with a representation of a lying female figure, next to a seated male figure.

Gual has argued that in the postwar period, Picasso moved to the Riviera, opening a new dimension in his career with paintings in which proliferated pastoral scenes of fauns, centaurs or pastoral couples.

In this case, the male figure playing a aulos, an instrument of classical Greece, in an image without perspective and transmitting “Mediterranean peacefulness and peace.”

The second work on display in the hall 16, like the first opposed some of the engravings are preserved in the Barcelona museum with the same theme, is “Le déjeneur sur l’herbe (après Manet) ’30 July 1961, based on this painting by the French painter.

Conservative stressed that Picasso always showed interest in other artists of the past like the same Velázquez, but more than make simple copies or literal transpositions, used these works as ‘a space for creative discussion’.

In the box, change the number of original characters and focuses its attention on the character called ‘le causeur’ and the two women protagonists, canceling one of the two male characters, while changing the horizontal to vertical green color becomes predominant.

Malen Gual points out that this rule of green contrasts’ with clarity emanating from the two female protagonists. ”

Pablo Picasso worked in the series on ‘Les déjeneurs sur l’herbe’, August 1959 to June 1962, creating a total of 27 paintings, over 150 drawings, 6 linoleum prints on a drypoint, lithography and 18 cartons sculpture.

The painting on display in Barcelona had only seen in Spain in the early nineties in the Reina Sofia Art Museum in Madrid.

The last of the pieces that can be seen until June is’ The card player II ‘, of December 30, 1971, when a nonagenarian Picasso’ shows that it never repeats itself. ”

In this picture, which participated in the exhibition of the Palace of the Popes in Avignon in 1973, collected in a single image a man wearing a hat, which is both old painter and figures matador and the Musketeer, as well characteristic elements of Cubist works as the jug, glass and playing cards.

Gual stressed that, just as in other works of this period, it appears that was executed with ‘strongly’ with thick fluid paint with chorretones, fillings, leaving visible traces of the brush. ‘It looks like Picasso plays with matter, with textures, “he noted.

Thanks to the policy of exchange of the Picasso Museum, next June a total of 27 drawings from the collection Barcelona calling at the Louisiana Museum for the exhibition “Picasso before Picasso ‘.

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The ‘farmhouse’ Torres Garcia at Sarria neighborhood in Barcelona, empty and unused

The premiere of an extensive retrospective at the MoMA in New York rescues the trace of the artist in Barcelona

Torres García at the MoMA in New York

The Museum of Modern Art in New York (MoMA) pays tribute this October with a colorful retrospective. The Palau de la Generalitat looks in a room in your name with frescos that decorated the Saló Sant Jordi in1916 at the request of Prat de la Riba. Frequenting the “Quatre Gats’ and worked with Antoni Gaudí-Design windows to the Holy Family, Eugeni d’Ors, Joan Miró, Ramon Casas … And, despite everything, the imprint of Joaquín Torres García (1875-1949) in Barcelona remains totally forgotten.

The ‘casitas Torres García’ in the street Hort Vila Sarria 27-29 await you boarded a municipal intervention that returned to life and a new use that service area. They worked this complex Uruguayan-Catalan artist, who in November 1919 agreed to a cabinetmaker neighborhood production peculiar collection of art toys, a number of mills of wood, colors and transformable, who devised as child introductory artistic creation and abstraction.

The farm is owned by the municipality and was about to be demolished to align the streets leading to the Via Augusta. Neighborhood Association and Major de Sarrià library The Peixera which specializes in children’s book artist and closed during the crisis prompted active mobilization between 2007 and 2011, that the pick away and won the municipal commitment to conserve and heritage local interest. They are two of only six houses on the ground floor and a floor that still retain the structure of ‘Catalan Volta’. “They are the last urban farms that remain, testimony of the traditional architecture of Sarria,” explains Eva Ceano-Vivas, president of the AVV brand Sarria.

Entities popular culture came even prepare a detailed project, which have been submitted to the governments of Hereu, Trias and Colau- to rehabilitate the space and make it ‘home institutions and Culture Sarrianenca’. Give shelter to such gegants colles of devils and the Drac and the neighborhood. “We keep gegants in the district headquarters, but we have nowhere to gather and file and other material are scattered private homes”, explains Montse Iglesias, the Gegantera Colla de Sarria.

“Over 20 years ago we asked a local” laments. Teresa lasted, owner of The Peixera and one of the activists involved in the local campaign, encouraged to go beyond the artistic memory and rescue the building, “even with some kind of stable relationship with the Torres García Museum of Montevideo”. “It is so important for the history of art and so little known here! Artist,” he sighs.

The new municipal government confirms that the assignment of a new use is still pending and the part of the plan of facilities for the district which provides a consensus with the entities. “We want to keep them but will be implemented using a participative manner during the preparation of the District Action Plan (PAD) and the Municipal Action Plan (PAM),” he says. Ada Colau team must negotiate with the opposition these roadmaps, which could delay its approval until the summer.

More than a game

Toys are not a minor element in the work of Garcia Torres, on the contrary. “We attached great importance, because condensed their willingness to make art education” lasted, stressing that took them with him on every international move explains. Other contemporary authors such as Paul Klee, Pablo Ruiz Picasso or Bauhaus School, also explored the children’s game as an artistic practice. Today, however, those toys are considered avantgarde art and the Uruguayan have been exhibited in the showcases of museums such as the Metropolitan in New York, the Oscar Niemeyer of Brazil and the IVAM in Valencia.

Manufacturing of Sarria operated during the first years 20. Torres García designing parts and its partner, the artisan Rambla Francesc Teixidor, the materialized. Rambla had his workshop in Hort de la Vila and was a renowned cabinetmaker in the then independent town of Sarria, which also was commissioned to carve the stalls of the Plenary Hall of the Town Hall, now the headquarters of the district. The company Aladdin New York Toys rights bought them toys, which manufactured and sold in the United States as well as in Europe. However, the two partners ended up breaking the Barcelona project and was buried.

A rising value

Torres Garcia was an itinerant artist -he lived in Uruguay, Spain, USA, France, Italy … -, one of the first creators globalized, but lived in Catalunya for much of his creative life. Enmarcarle costs in an aesthetic trend, because alternated with noucentistes and modernists, left figurative and abstract work, he founded the Constructive Universalism and created his own school in Latin America. “It was a ‘rare’ for life time and failed a lot of fame, maybe we understand better today, now that we are also a complex, fluid society” reflects lasted. “When we defended them not to shoot the houses, and we realize that Torres Garcia is one of the artists who will be revalued during the first quarter of the twenty-first century is going well,” he recalls Teresa lasted.

Indeed, the extensive retrospective at MoMA -¡190 parts – is not the only exhibition of the author, one of the most prominent representatives of the pictorial vanguards in the Southern Cone. He also starred in recent samples in Spain: this July at the Museum of Fine Arts of Murcia (Mubam) until this Wednesday at the Dalmau Gallery in Barcelona, ​​which has a close relationship with the artist’s family since the 70s also his pieces have been seen at the Museu Picasso de Barcelona (2014) and the Reina Sofia in Madrid (2013). The MNAC gave him a temporary four months in 2011 and for a year starred in a room of the museum, thanks to the timely transfer of 14 works by their grandchildren.

The current MoMA exhibition will travel to Madrid on May 19th to September 11th, 2016 and Malaga of October 10th, 2016 to February 5th 2017, but is not intended calling at any Catalan population.

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