Through February 7th of 2016, the Museum of Modern Art in New York (MOMA) presents a very special show of Picasso's sculptures. The curators bring together a large collection of objects arranged chronologically across Picasso's long career. It's a charming exhibition filled with large doses of creative energy, whimsy, deep appreciation of history, wit, and moments of simple elegance.
I especially liked watching the work change over time. How it changes depends on where -- in what space-- it was being done, what was happening in Picasso's painting at the time, who was in his life, and world events.
Some examples: When Picasso purchased a large property, he was able finally to build a big studio and create monumental pieces of sculpture. When the Nazis occupied Paris and made artists' work in metal illegal, Picasso had to concentrate on making works in plaster. He was able to sneak by the authorities only an occasional piece cast in bronze. When Picasso found himself in the south of France among gifted ceramicists, he turned to making magic in a new medium.
I also liked the links between Picasso's painting and his sculpture. One trade was clearly helping another. And then, the links with other artists .... If Picasso threw a sculpture party in that big chateau, you could imagine the guest list including names like Braque, Giacometti, Klee, Henry Moore, and many more sources and recipients of inspiration.
I was so caught up looking at the work and walking around it in the grand spaces that MOMA provided, I forgot to gather images through the first half of the show. Only in the later rooms, I decided it would be good to do some recording and photographing for sharing. Here are shots of some of the pieces. Be charmed.
I especially liked watching the work change over time. How it changes depends on where -- in what space-- it was being done, what was happening in Picasso's painting at the time, who was in his life, and world events.
Some examples: When Picasso purchased a large property, he was able finally to build a big studio and create monumental pieces of sculpture. When the Nazis occupied Paris and made artists' work in metal illegal, Picasso had to concentrate on making works in plaster. He was able to sneak by the authorities only an occasional piece cast in bronze. When Picasso found himself in the south of France among gifted ceramicists, he turned to making magic in a new medium.
I also liked the links between Picasso's painting and his sculpture. One trade was clearly helping another. And then, the links with other artists .... If Picasso threw a sculpture party in that big chateau, you could imagine the guest list including names like Braque, Giacometti, Klee, Henry Moore, and many more sources and recipients of inspiration.
I was so caught up looking at the work and walking around it in the grand spaces that MOMA provided, I forgot to gather images through the first half of the show. Only in the later rooms, I decided it would be good to do some recording and photographing for sharing. Here are shots of some of the pieces. Be charmed.
