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famous
Blue Period
(1901–04) burst upon you – whether its moody Barcelona
rooftops or the cold face of
La Dona Morta
– and subsequent galleries trace the
Pink Period (1905–06), though with the barest nod to his Cubist (1907–20) and
Neoclassical (1920–25) stages.
The large gaps in the main collection (for example, nothing from 1905 until
the celebrated
Harlequin
of 1917) only underline Picasso’s extraordinary changes
of style and mood. This is best illustrated by the large jump to 1957, a year
represented by his 44 interpretations of Velázquez’s masterpiece,
Las Meninas
,
completed in just four months between August and December. In these, Picasso
brilliantly deconstructed the individual portraits and compositions that make up
Velázquez’s work; in addition, and neatly juxtaposed, are displayed nine more
donated works by Picasso, gorgeous light-filled Mediterranean scenes inspired
by the pigeons and dovecotes of his Cannes studio.
The museum also addresses Picasso as
ceramicist
, highlighting the vibrantly
decorated dishes and jugs given to the museum by his wife, Jacqueline.There
are various portraits of Jacqueline here, too, though it’s the deep friendship
Picasso shared with Jaime Sabartes for almost seventy years that provokes the
clearest expression of endearment, in a separate room of mature portraits,
character studies and jokey sketches by one friend of another. Finally, separate
rooms, opened in 2008, display annually changing exhibitions of
Picasso’s
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SANT PERE, LA RIBERA AND CIUTADELLA
|
Museu Picasso