Having attempted to visit the Musée national Picasso-Paris on a couple of occasions but defeated by queues, it was third time lucky for me on a drizzly Saturday afternoon pottering around Le Marais! The museum is in the old Hotel Sale building dating back to the 17th century and listed by The Historic Monuments department. It opened as a museum in 1985 following extensive restoration, creating stunning modern gallery spaces whilst being sympathetic to the original architectural features and surviving furnishings. The collection comprises over 5,000 paintings, sculptures, ceramics, prints, engravings, illustrated books as well as an archive of newspaper articles and personal documents associated with the Spanish artist. The vast majority of the collection was acquired through two large donations from Picasso’s heirs, and is currently host to an additional body of work on loan from the Pompidou Centre as part of their 40th anniversary celebrations – offering a full spectrum of Picasso’s myriad styles and techniques. The lead exhibition focusses on the year 1932 during which Picasso dated every painting or sculpture he created, highlighting the strong biographical element in his work. This was also an interesting year with regards the artists’ personal life as many of the portraits painted depict variations of just two women; Dora Marr and Marie-Thérèse Walter, the former a photographer and surrealist artist who was Picasso’s mistress leading to the demise of his marriage to Russian ballerina Olga Khokhlova, and the latter a seventeen year old additional love interest of the forty-five year old artist! The variable and often contrasting portrayals of these two woman is a good analogy for the multifarious nature of Picasso as an artist, embracing innumerable different styles throughout his career. Ultimately that was what I took away from my visit to this museum – that Picasso was far more than the surrealist painter I was familiar with, but a far more complex and talented creator unafraid to provoke.
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