Picasso.Mania / FRANZÖSISCH
Will you be painting for a long time?
- Yes, because for me it's a mania.
Interview, May 11, 1959, quoted in Picasso, Propos sur l'art, Paris, Gallimard, 1998.
Picasso and contemporary art? Contemporary Picasso ? The passage of time brings new answers to these questions.
From the 1960s through the 1980s, many observers contributed to the fact that the art of Marcel Duchamp marginalized that of Picasso. While the mainstream media, from Paris Match to L'Humanité, made Picasso a folk hero, professional journals took an interest in his work, but only to discuss the timing of his demise.
The centenary of the painter's birth in 1981 marked a turning point. In the early 1980s, a kind of "Picasso mania" emerged. Armed with a Polaroid camera, David Hockney undertook a reinterpretation of Cubism. Brush in hand, Andy Warhol, Jasper Johns, Jean-Michel Basquiat, Antonio Saura, Malcolm Morley... take the place of Picasso, whose late paintings are just being rediscovered.
With more than three hundred works, including around a hundred by Picasso, from the Center Pompidou, the Musée Picasso and the Picasso estate, including films (Kusturica, Godard, etc.), videos (Rineke Dijkstra), photographs (Agbodjelou, Hockney, etc.) , paintings and sculptures, the exhibition looks back at contemporary artists' fruitful engagement with the artist from 1960 to the present day and shows that Picasso's plastic and poetic legacy is still alive.
Since the 1980s, Picasso's work can be offered as an infinite corpus of equally usable forms. Armed with a Polaroid, David Hockney undertakes a new interpretation of Cubism, Louis Cane is inspired by Picasso's dialogue with the "old masters" for Déjeuner sur l'herbe and other Menines. Jasper Johns simultaneously drew inspiration for his Four Seasons from a 1936 painting (The Removal of the Minotaur) and another from 1954 (The Shadow), while Antonio Saura used a portrait of Dora Maar as the basis for a series of Variations took...
Both chronologically and thematically, the catalog traces the different moments of the critical and artistic reception of Picasso's work, the stages of the formation of the myth linked to his name.
The most important stylistic phases and certain emblematic periods in Picasso's work, such as Les Demoiselles d'Avignon and Guernica, to which an important part is devoted, are contrasted with contemporary works by Erro, Hockney, Johns, Lichtenstein, Kippenberger, Warhol and Jeff Koons.
- Yes, because for me it's a mania.
Interview, May 11, 1959, quoted in Picasso, Propos sur l'art, Paris, Gallimard, 1998.
Picasso and contemporary art? Contemporary Picasso ? The passage of time brings new answers to these questions.
From the 1960s through the 1980s, many observers contributed to the fact that the art of Marcel Duchamp marginalized that of Picasso. While the mainstream media, from Paris Match to L'Humanité, made Picasso a folk hero, professional journals took an interest in his work, but only to discuss the timing of his demise.
The centenary of the painter's birth in 1981 marked a turning point. In the early 1980s, a kind of "Picasso mania" emerged. Armed with a Polaroid camera, David Hockney undertook a reinterpretation of Cubism. Brush in hand, Andy Warhol, Jasper Johns, Jean-Michel Basquiat, Antonio Saura, Malcolm Morley... take the place of Picasso, whose late paintings are just being rediscovered.
With more than three hundred works, including around a hundred by Picasso, from the Center Pompidou, the Musée Picasso and the Picasso estate, including films (Kusturica, Godard, etc.), videos (Rineke Dijkstra), photographs (Agbodjelou, Hockney, etc.) , paintings and sculptures, the exhibition looks back at contemporary artists' fruitful engagement with the artist from 1960 to the present day and shows that Picasso's plastic and poetic legacy is still alive.
Since the 1980s, Picasso's work can be offered as an infinite corpus of equally usable forms. Armed with a Polaroid, David Hockney undertakes a new interpretation of Cubism, Louis Cane is inspired by Picasso's dialogue with the "old masters" for Déjeuner sur l'herbe and other Menines. Jasper Johns simultaneously drew inspiration for his Four Seasons from a 1936 painting (The Removal of the Minotaur) and another from 1954 (The Shadow), while Antonio Saura used a portrait of Dora Maar as the basis for a series of Variations took...
Both chronologically and thematically, the catalog traces the different moments of the critical and artistic reception of Picasso's work, the stages of the formation of the myth linked to his name.
The most important stylistic phases and certain emblematic periods in Picasso's work, such as Les Demoiselles d'Avignon and Guernica, to which an important part is devoted, are contrasted with contemporary works by Erro, Hockney, Johns, Lichtenstein, Kippenberger, Warhol and Jeff Koons.
