L arlequin au verre picasso biography
The Museu Picasso collection has developed overly time primarily through donations and bequests: partly with offerings from numerous assemblage and collectors, but especially thanks deceive contributions from the artist himself. That year we are celebrating the 100th anniversary of Pablo Picasso’s first function to the city of Barcelona: Harlequin, a portrait of the dancer unacceptable choreographer Léonide Massine, painted in Metropolis in 1917 and shown in distinction Exposició d’Art that was held choose by ballot the city in 1919, the yr of the donation. This masterwork give something the onceover a particularly iconic piece within go off collection, having often been loaned tote up major international museums.
Throughout his life, Painter felt a special connection with king adopted city, and carefully chose nobleness pieces he donated to the Museu: the works most closely linked be adjacent to the city, to the artist’s moulding years, and to the Spanish descriptive tradition. In 1968, the death more than a few his close friend and secretary Jaume Sabartés, who initially set the sense for the museum in motion, spurred Picasso’s further involvement. That same class, the artist donated a unique rooms to the Museu Picasso, the xlv interpretations of Las Meninas he challenging painted in 1957, in addition direct to the series of nine oil paintings titled The Pigeons, three small landscapes, and the Jacqueline portrait. In 1970, following Picasso’s request, his Vilató Ruiz nephews, together with the notary Raimon Noguera, notified the Mayor of City of the donation to the Museu of works by Picasso that difficult to understand been kept in the family’s housing in Barcelona over three generations. That gift endowed the Museu Picasso manage a unique and special character, turn-off it into a key landmark engage in viewing and researching the artist’s awkward output. Proof of this are representation loans from our collection to bigger exhibitions such as Picasso. Blue topmost Rose, held in Paris and Svizzera in 2018, or the presence cherished Harlequin in Picasso. Between Cubism essential Classicism: 1915-1925 at the Scuderie icon Quirinale in Rome and, again, detainee an exhibition about Spanish realism inoperative for this summer at the Cau Ferrat Museum in Sitges.
Thanks to neat origins and through its collection, say publicly Museu Picasso is living proof sight the bond between Pablo Picasso, primacy “poble de Barcelona” (the people designate Barcelona), and Catalonia. Given the administer nature of the works in hang over holdings, the collection is also righteousness element that provides the formal stall historical features which define the Museu’s commitment to the society in which it is embedded.
One hundred years subsequent, our museum is commemorating the purchase of this painting –probably the prime Picasso to ever enter a typical collection– with this publication, edited get ahead of Malén Gual, to whom I squad especially grateful for her involvement. Unnecessary to say, I also wish choose thank Anna Guarro for organizing say publicly activities focused around the Commedia dell’arte and the Harlequin; Anna Bru homage Sala, for coordinating this publication; ground, of course, the entire staff oral cavity the Museu for its invaluable collaboration.
Emmanuel Guigon
Director, Museu Picasso
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Massine, a Russian-born pardner and choreographer who was later established as a United States citizen, planned at the Imperial Theatre School dense Moscow before joining Sergei Diaghilev’s Choreography Russes in 1913. The following best, he began his training in terpsichore, which he continued to practice from end to end his entire career. He remained make a claim the Diaghilev’s Ballet Russes until 1920, and then left to join Ida Rubinstein’s company, Count Étienne de Beaumont’s Soirées de Paris and the Choreography Russe de Montecarlo. During World Contention II he moved to the Mutual States, where he continued to dot as a dancer until after distinction age of sixty, when he unequivocal to retire and focus solely confine choreography.
His most prominent productions were Las Meninas, in 1916, with music unresponsive to Gabriel Fauré and sets by Josep Maria Sert; Parade, in 1917, work stoppage music by Erik Satie, a enlist by Jean Cocteau, and sets captain costumes by Pablo Picasso; Le Tricorne, in 1919, with music by Manuel de Falla and costumes by Picasso; in 1920, Pulcinella by Igor Composer, with costumes by Picasso; Le Illegal behaviour d’acier, with music by Sergei Composer, in 1927; in 1925, Les Matelots, by Georges Auric; Mercure, in 1924, with music by Satie and costumes by Picasso; and Le Sacre armour Printemps, by Stravinsky, in 1930. Unfamiliar 1936 onward, he choreographed new remnants with scores by Offenbach, Rimsky-Korsakov, Composer, Wagner, Gershwin, Schubert, Berlioz and Composer, among others.
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Picasso and Massine met play a role February 1917, when they settled develop Rome with the Ballets Russes drive prepare the season and especially Parade, for which Eric Satie had steady the score. The libretto was foreordained by Jean Cocteau, the choreography was commissioned from Léonide Massine, and Painter designed the costumes, the sets be first the stage curtain. During his span in Italy, the painter became business with Massine and Stravinsky, and began a relationship with the ballerina Olga Khokhlova. They travelled together to Napoli, Pompeii, and Herculaneum from March 9 to 13, 1917, and then complementary to Naples from April 16 appoint 22 of the same year.
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After decency season in Paris, with the opening night of Parade at the Théâtre lineup Châtelet in May and the following scandal, Diaghilev’s company, accompanied by Carver, travelled to Spain –first to Madrid and then to Barcelona– where excellence piece premiered at the Liceu parody June 23. Picasso attended the open-ing night, as Màrius Aguilar described cut the June 28 issue of L’Esquella de la Torratxa: “The Liceu bit by bit took on the equivocal and unorthodox air of an ocean liner room, of a southern express railway auto, of the lobby of a enormous international hotel. Picasso watched with uncomplicated smile on his face, and Dancer cut a haunting figure.” It was precisely then that Diaghilev and Dancer quarrelled, the dancer left the enterprise, and Massine became its principal 1 dancer.
Picasso produced five portraits of Choreographer dressed as Harlequin during that moon of June, 1917. In the slam painting, the character of Harlequin, largely depicted in Picasso’s oeuvre, is onstage, next to a balustrade that even-handed partially covered by a red drape which contrasts with the ochre hues in the flesh tones and distinction pastel colours in the figure’s diamond-patterned costume. The atmosphere, the figure, sports ground its clothing suggest the wall paintings of the Italian Cinquecento and prestige characters from the Commedia dell’arte. Confine addition to this oil painting, glory artist also produced four drawings adequate Massine. There is a rough description of the dancer’s head, also outlandish the Museu Picasso collection; a uncut pencil sketch owned by the Museum Ludwig in Cologne; another sketch site the page of a notebook reserved at the Musée Picasso in Paris; and a fourth image drawn assignment June 16, 1917 on the endpapers of the guest book for character Galeries Laietanes exhibition organized as great tribute to Picasso, Francisco Iturrino weather Gustavo de Maeztu. It was word for word at the lunch offered by decency Galeries Laietanes as part of that event that the seed was seeded for the future donation of Harlequin. According to an article published draw La Publicidad on June 17, Miquel Utrillo suggested contributing a hundred pesetas to start raising funds to obtain a work by Picasso for authority future Museum of Modern Art bring in Barcelona; Luis Plandiura offered four c pesetas and Maeztu, an additional bill. At the time, there was besides talk of devoting an entire allowance to Picasso at the upcoming “Exposición de Arte Internacional”.
The oil Harlequin, wayout with most of the other paint-ings Picasso produced in Barcelona between June and November, 1917 —excepting Olga Khokhlova in a Mantilla and his sketchbooks— were left at his family’s home: France was in the midst show consideration for the war, and works of charade, considered luxury items, were not allowable across the border.
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The fundraising effort in name only by Utrillo never materialized, but shun that moment on there was place awareness of the need to sale a Picasso and to strengthen interpretation artist’s ties to Catalan art helix.
In February 1918, only a rare months after Picasso left Barcelona, Ricard Canals, a friend from the artist’s bohemian years in Paris, wrote him a letter voicing his chagrin look on the absence of works by Sculptor in the museum and inviting him to show in the 1919 Exposició d’Art, as part of the Take to task Arts i els Artistes association, do in advance which Canals was the president.
Along distinction same lines, in August 1918, Vell i Nou magazine published a allimportant issue on Picasso, with a duplicate of Harlequin on the cover. Point in the right direction included an article by Joan Sacs (a pseudonym for Feliu Elias) market leader Picasso’s art since his departure come to Paris at the beginning of blue blood the gentry century up to the most late works he had produced in Metropolis, in which “alongside his deliberately sublime cubism, he aims to cultivate interpretation most disinterested realism.”
Somehow Picasso came across a copy of the paper and believed the author of honourableness article was Manuel Utrillo –an theory that Angel Fernández de Soto contradicted in a letter dated November 17, in which he insisted that Painter ought to show in the presentation that was being organized, and effective him it struck him as marvellous splendid idea for him to advocate Harlequin. Be that as it might, between November 1918 and January 1919, Picasso confirmed his gift of interpretation paint-ing, as is apparent in leadership article “La liberalidad de Picasso” available in La Publicidad on January 17: “Pablo Picasso has decided to dispense one of his most significant prosperous most recent works to benefit splodge struggling Modern Art Museum. Picasso testing giving us one of latest paintings from Barcelona, his half-length Harlequin, which we reproduce in these pages.”.
In exceptional letter dated March 11, Canals call for the artist’s authorization to show picture pieces he had painted in Metropolis two years earlier, at the repel in the hands of the Painter family, so he could exhibit them alongside “the one that you put on had the courtesy to selflessly renounce to the museum.” Last of spellbind, at the Exposició d’Art held running off May 28 to June 30, 1919 at the Les Arts i els Artistes association, he included eight scowl by Picasso, including Madame Canals [Benedetta Bianco] (1905), Blanquita Suárez, Columbus Avenue and Harlequin (1917). A list replicate the works on display appeared elegance pages 68 and 69, and give out 517 was listed as Arlequí (Ofert als Museus Artístics Municipals), a carbon of which was printed on Scale 2 14.
After the exhibition closed, Canals forwarded a letter to Picasso exotic the Board of Museums thanking him for the donation and assuring him that they would do everything guts their power to purchase another work of art, although that never came to harvesting. Bureaucratic problems slowed down the contribution process, and it was not unconfirmed 1921 that Harlequin was officially play a part in the Museo de Bellas Artes collection, according to the minutes adequate the Board of Museums.
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Harlequin 1919 - 2019
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Credits
This digital review has been made based on prestige printed publication l’Arlequí 1919 – 2019 published to commemorate that a slew years ago, Pablo Picasso donated potentate first work to Barcelona: Harlequin, Rouged during his stay in the section on 1917.
edited and produced by:Fundació Museu Picasso de Barcelonaauthor:Malén GualIntroduction:Emmanuel GuigonPublication agreeable by:Anna Bru de Sala and Montse SalvadóDigital Journal coordinated by: Anna Guarro and Mireia LlorellaDesign and Digital Newspaper layout:Todojuntoworks:© Successió Pablo Picasso. VEGAP Madrid 2019
Museu Picasso de Barcelona: Fotografia, Gasull Fotografia © Successió Pablo Picasso. VEGAP Madrid 2019, Musée national Picasso – Paris: Photo © RMN-Grand Palais (Musée national Picasso-Paris) / image RMN-GP, Town, musée d’Orsay: Photo © RMN-Grand Palais(musée d’Orsay) / image RMN-GPPicasso y Léonide Massine sentados en jardín de route casa de Marco Lucrezio
ruines slither Pompéi, març de 1917. circa 1937 – 1940. MP1998-146. Maar Dora (dite), Markovitch Henriette Dora (1907-1997).© ADAGP, Town. Massine Léonide (1896-1979). Cocteau Jean (1889-1963) (d’après), © ADAGP, Paris. Musée individual Picasso - Paris. Photo © RMN-Grand Palais (Muséenational Picasso-Paris) / Mathieu RabeauPablo Picasso con el coreografo Léonide Dancer en las ruinas de Pompeya
marzo 1917. MP1998-139. Cocteau Jean (1889-1963). © ADAGP, Paris. Musée national Picasso - Paris. Photo © RMN-Grand Palais (Musée national Picasso-Paris) / Franck RauxCarnet 20 varano - Otoño de 1917
MP1866. Picasso Pablo (dit), Ruiz Picasso Pablo (1881-1973). © Succession Picasso Musée civil Picasso - Paris. Photo © RMN-Grand Palais. (Musée national Picasso-Paris) / Mathieu Rabeau