The show itself was breathtaking, not only in terms of the richness and scale of the collection of works on display, but also in the manner in which the paintings were presented. It was truly a curatorial masterpiece, to be able to get hold of these incredible works of art all at the same time, and to display them in such an organized yet thought-provoking fashion. The exhibit was split into ten rooms, each organized by theme. Each display was preempted with a short reflection devoted to the events and influences which shaped Picasso's works in the room we were about to enter, and what the phase represented in terms of Picasso's career. These blurbs were usually complemented with quotes by the artist himself:
"God made what did not exist, and so do I...He even made painting. So do I."
"Painting is nothing but signs"
"Painting is nothing but signs"
The exhibitions' curators displayed each thematic collection as a mélange between Picasso's influences and his own works. As a result, viewers were often able to extract the specific sources of inspiration out of Picasso's paintings. This is especially clear in the hall devoted to Picasso's "variations", which was one of my favourite rooms. I found myself walking back and forth multiple times between the original masterpieces of "les maîtres" and the many interpretations of Picasso, each time picking up on the different ways in which Picasso used the painting to "create" his own works. To me, it almost seemed like a systematic process: he would deconstruct and dissect the painting, analyse it, play around with different focuses within the painting, reinterpret it, reinterpret it some more, and finally reinvent the painting entirely. In some cases, he would put together influences from various works, layering them on top of each other, adding his signature use of texture and scale, to make it his own. In others, he would extend the frame of the painting, including into his interpretations what he envisioned to be taking place outside of the original tableau. Bearing in mind Picasso's mastery of different artistic styles and techniques, the end result is more often than not magnificent.
I would never label myself to be a die-hard Picasso enthusiast - in all honesty, there are numerous Picasso pieces which I have difficulty connecting with, which I fail to understand Picasso's intentions for, or which I simply find aesthetically unpleasing. Yet what continues to amaze me is his expert command of such a diverse range of techniques and styles. While I cannot claim to appreciate Picasso's portrait of Dora Maar, there are paintings from his Blue Period and Cubist Period which I found to be absolutely mesmerizing. I am fascinated that a single painter can extract from me a variety of such strong emotions, and that, I guess, is a testament to Picasso's incredible vision and artistry.
I would never label myself to be a die-hard Picasso enthusiast - in all honesty, there are numerous Picasso pieces which I have difficulty connecting with, which I fail to understand Picasso's intentions for, or which I simply find aesthetically unpleasing. Yet what continues to amaze me is his expert command of such a diverse range of techniques and styles. While I cannot claim to appreciate Picasso's portrait of Dora Maar, there are paintings from his Blue Period and Cubist Period which I found to be absolutely mesmerizing. I am fascinated that a single painter can extract from me a variety of such strong emotions, and that, I guess, is a testament to Picasso's incredible vision and artistry.
No comments:
Post a Comment