martes, 11 de octubre de 2011

EL JOVEN PICASSO: REFERENTES PARA LA CULTURA CLÁSICA

La página del Departamento de Latín del IES "Francesc Ferrer i Guàrdia" nos pide que les publiquemos lo que sigue. Y así lo hacemos.

Desde el 4 de octubre hasta el 8 de enero de 2012  se nos propone la exposición Picasso´s Drawings 1890-1921 Reinventing Tradition en New York por parte de la Frick Collection.
Esta exposición Reiventando la Tradición explora , según nos comenta Francesc Peirón en su artículo, La educación de un Genio, en el periódico La Vanguardia, "el papel fundamental que el dibujo ha tenido en su etapa de formación y su influencia en el arte que desarrolló. También examina las conexiones que mantiene su estilo con la tradición de los maestros antiguos."


 Susan Grace Galassi, responsable de esta muestra dedicada a los inicios de nuestro pintor más reconocido :"el dibujo fue su pasión". Entre los más de 60 dibujos que viajan desde su primer dibujo hasta los años 20 hay dos del Museu Picasso de Barcelona. que subrayamos porque remiten a la mitología y escultura clásicas,

En 1890 a la edad de 9 años dibuja en lápiz sobre papel su Hércules - Museu Picasso de Barcelona- a partir de una estatua que se encontraba en el pasillo de un apartamento de su familia. Nos encontramos ante uno de los trabajos más recientes conservados por sus padres.


 En 1895 con quince años dibuja este torso a partir de una escultura del frontón del Partenón
Pablo Picasso (1881-1973) Estudio de un Torso de 1895 Carboncillo y toques de lápiz negro sobre papel  Museu Picasso, Barcelona

Esto es lo que se nos cuenta en la presentación de esta exposición monográfica

Pablo Picasso (1881–1973) is generally acknowledged to be the greatest draftsman of the twentieth century. The Frick Collection, New York, and the National Gallery of Art, Washington, D.C., have co-organized an exhibition for 2011–12 that will look at the dazzling development of Picasso's drawings, from the precocious academic exercises of his youth in the 1890s to the virtuoso classical works of the early 1920s. Through a selection of more than fifty works at each venue, the presentation will examine the artist's stylistic experiments and techniques in this roughly thirty-year period, which begins and ends in a classical mode and encompasses the radical innovations of cubism and collage. The show (which opens at the Frick in the fall of 2011 and moves on to the National Gallery of Art in February 2012) will demonstrate how drawing served as an essential means of invention and discovery in Picasso's multifaceted art, while its centrality in his vast oeuvre connects him deeply with the grand tradition of European masters. Indeed, the exhibition will bring to the fore his complex engagement with artists of the near and distant past and will explore the diverse ways he competed with the virtuoso techniques of his predecessors and perpetuated them in revitalized form. Picasso's Drawings, 1890–1921: Reinventing Tradition features loans from important public and private collections in Europe and the United States and is accompanied by a full-color catalogue of the same name. It is being organized by Susan Grace Galassi, Senior Curator, The Frick Collection, and Marilyn McCully, Picasso expert, in conjunction with Andrew Robison, Mellon Senior Curator of Prints and Drawings at the National Gallery of Art. Comments Galassi, "Over the past decade several exhibitions organized both in the United States and abroad have explored Picasso's art in relation to Western and non-Western traditions. The show focuses on this fundamental aspect of his work, specifically in relation to his drawings, where his interaction with artists of the past often first emerged. Our project aims to take a fresh look at Picasso's drawing practice from his early training to maturity."
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.