picasso in istanbul - sakıp sabancı müzesi · van gogh, etc., but everyone recognized that he...

PRESS INFORMATION

PICASSO IN ISTANBUL

SAKIP SABANCI MUSEUM, ISTANBUL

24 November 2005 to 26 March 2006

Press enquiries:

Erica Bolton and Jane Quinn

10 Pottery Lane

London W11 4LZ

Tel: 020 7221 5000

Fax: 020 7221 8100

[email protected]

mailto:[email protected]

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Contents

Press Release

Chronology

Complete list of works

Biographies

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Press Release

Issue: 22 November 2005

FIRST PICASSO EXHIBITION IN TURKEY IS SELECTED

BY THE ARTIST’S GRANDSON

Picasso in Istanbul, the first major exhibition of works by Pablo Picasso to be staged in

Turkey, as well as the first Turkish show to be devoted to a single western artist, will go on

show at the Sakip Sabanci Museum in Istanbul from 24 November 2005 to 26 March 2006.

Picasso in Istanbul has been selected by the artist‟s grandson Bernard Ruiz-Picasso and

Marta-Volga Guezala. Picasso expert Marilyn McCully and author Michael Raeburn are joint

curators of the exhibition and the catalogue, working together with Nazan Olçer, Director of

the Sakip Sabanci Museum, and Selmin Kangal, the museum‟s Exhibitions Manager.

The exhibition will include 135 works spanning the whole of the artist‟s career, including

paintings, sculptures, ceramics, textiles and photographs. The works have been loaned from

private collections and major museums, including the Picasso museums in Barcelona and

Paris. The exhibition also includes significant loans from the Fundaciñn Almine y Bernard

Ruiz-Picasso para el Arte.

A number of rarely seen works from private collections will be a special highlight of the

exhibition, including tapestries of “Les Demoiselles d‟Avignon” and “Les femmes à leur

toilette” and the unique bronze cast, “Head of a Warrior, 1933”. One of the highlights of the

selection is a group of late paintings of musketeers, warriors, lovers and bullfighters, which

were chosen by Picasso to be included in his last exhibition, held at the Palais des Papes in

Avignon in 1973. The exhibition will also feature remarkable photographs of Picasso, his

studios and members of his intimate circle.

A fully illustrated catalogue, with essays by Picasso friends and experts, published in both

Turkish and English, will be the first book of its kind on Picasso in Turkey and will provide a

basis for further investigation about the artist. The catalogue includes memoirs by John

Richardson and Turkish artist, Abidin Dino, and an introduction to the life and work of the

artist by Marilyn McCully as well as an excerpt from Michel Leiris‟s celebrated text about the

artist and his model. A series of related events, including lectures and films, will be presented

throughout the period of exhibition.

The exhibition, sponsored by Sabanci Holding, is organised in collaboration with the

Fundaciòn Almine y Bernard Ruiz-Picasso para el Arte and with the contributions of the

French Institute of Istanbul.

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Note to Editors:

Bernard Ruiz-Picasso is the grandson of Pablo Picasso and his first wife Olga Khokhlova. He

was born in 1959. He is Chairman of the Museo Picasso Málaga.

Sakip Sabanci Museum:

The Sakıp Sabancı Museum, founded in 2002, is part of Sabancı University, one of the

leading institutions of higher education in Turkey. The Museum is situated on a picturesque

hill overlooking the Bosphorus in Istanbul, on the grounds of what used to be the Sabancı

Family residence. It houses a rich and representative collection of Ottoman calligraphy as

well as Turkish painting from the 19th

century onwards. The exhibition spaces occupy a total

of 6500 square metres, including a state-of-the-art annex completed in 2005. Upcoming

exhibitions include an exhibition of medieval Islamic and Christian manuscripts from the

outstanding collection of the Museu Calouste Gulbenkian in Lisbon. A retrospective

exhibition of the works of Auguste Rodin, drawn principally from the Museé Rodin in Paris,

will follow in 2006. http://muze.sabanciuniv.edu/english/

PRESS ENQUIRIES: BOLTON & QUINN, 020 7221 5000 (5 Lines)

FOR ENQUIRIES WITHIN TURKEY: MUJDE GUNSELI GUNDUZ, GOZDE

GUNAL, A&B COMMUNICATIONS +90 212 233 22 38

http://muze.sabanciuniv.edu/english/

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Pablo Picasso 1881 - 1973

A chronology of his life and work

1881

Birth in Málaga, Spain, of Pablo Diego José Francisco de Paula Juan Nepomuceno María de

los Remedios Crispín Crispiniano Santísima Trinidad, son of José Ruiz Blasco and María

Picasso Lñpez.

Pablo‟s sisters Lola and Conchita are also born in Málaga.

1891

The family moves to La Coruða. Pablo studies drawing from plaster casts at the local art

academy; his father arranges for his son to paint from live models.

Conchita dies of diphtheria in January 1895.

1895

Pablo exhibits paintings in a shop on the Calle Real in La Coruða; a local critic predicts that

the fourteen-year old “has a glorious and brilliant future ahead of him.”

After summer in Málaga, the family moves to Barcelona, where Pablo enters the School of

Fine Arts (La Llotja).

He shares a little studio with classmate Manuel Pallarès, who will remain the artist‟s friend

for life.

1897

In October he enters the San Fernando Academy in Madrid.

1898

Pablo contracts scarlet fever and leaves Madrid; he recuperates for the second half of the year

in Pallarès‟s village, Horta de Ebro. They witness the return from Cuba of penniless and

barefoot soldiers.

1899

Pablo returns to Barcelona in February; he frequents the Bohemian group of artists and

writers who meet at the tavern-restaurant Els Quatre Gats.

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1900

First one-man show at Els Quatre Gats (February); in October he travels with his friend

Carles Casagemas to Paris to see the Exposition Universelle, where his painting Last

Moments is shown in the Spanish Pavilion.

1901

After a short trip to Málaga, Picasso moves to Madrid, where he works as Art Editor on a new

journal, Arte Joven.

Picasso decides to quit Madrid in the spring, returning first to Barcelona and then on to Paris

to prepare for his first show there at Ambroise Vollard‟s gallery.

According to the poet Max Jacob, “He was accused of imitating Steinlen, Lautrec, Vuillard,

Van Gogh, etc., but everyone recognized that he had a fire, a real brilliance, a painter‟s eye.”

Picasso claims that the suicide of his friend Casagemas (in February) triggered the Blue

period (late 1901-mid-1904), in which the predominant colour of his palette is blue.

1902

He returns to Barcelona and works on subjects that deal with human misery. Back in Paris in

the autumn, he does paintings of the women inmates at the Saint-Lazare prison.

1903

He spends most of the year in Barcelona, where he paints an important series of images of

destitution, old age and blindness, which have their origins in older Spanish painting.

1904

Picasso moves to Paris in April and takes a studio in Montmartre. Among his new friends are

the writers André Salmon and the poet and critic Guillaume Apollinaire.

Picasso meets Fernande Olivier, an artist‟s model; she is the inspiration for many works in all

media throughout this period.

The palette of the Rose period (1904-06) changes to predominantly pink or flesh tones; new

subjects include the circus.

1905

Picasso spends several weeks (without Fernande) during the summer in Holland, where he

paints and draws the local girls.

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1906

Vollard buys out the contents of the artist‟s studio in the spring; with the money, Picasso and

Fernande leave Paris for Gñsol. The artist works with great energy, concentrating on a

sculptural approach to his compositions.

1907

For the first half of the year Picasso is at work on his large composition Les Demoiselles

d‟Avignon. He visits the Musée de l‟Homme, where he is impressed with tribal art.

His circle widens to include Georges Braque and the German dealer Daniel-Henry

Kahnweiler, who represents both artists in the following years.

1908

Picasso and Fernande spend August-September outside Paris in La Rue-des-Bois. When he

returns to Paris, he and Braque compare their summer‟s canvases. Braque‟s landscapes done

at L‟Estaque, near Marseille, are exhibited in the autumn and are described as “bizarre little

cubes”, giving birth to the name „cubism‟.

1909

Picasso and Braque begin to visit each other‟s studios in Montmartre on a frequent basis.

Picasso and Fernande go to Spain in May, stopping first in Barcelona, moving on to Horta de

Ebro. Picasso has a camera with him and photographs the locals, the village and his atelier.

He paints cubist landscapes and portraits.

1910

Picasso does portraits of three dealers: Vollard (who gives him his first retrospective at the

end of the year), the Germans Kahnweiler and Wilhelm Uhde.

At the invitation of his old friend Ramon Pichot, Picasso and Fernande spend the summer in

Cadaquès.

1911

Picasso and Fernande spend the summer in Céret.

Upon the Picasso‟s return to Paris, he and Apollinaire, who both have stolen Iberian

sculptures in their possession, are suspected of involvement in the theft of Mona Lisa (21

August). Picasso goes free, but Apollinaire spends some days in jail.

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Picasso and Eva Gouel begin a secret affair; he refers to her in his work with the song title,

Ma Jolie.

1912

A new phase of cubism is initiated with Picasso‟s use of house paint and the introduction of

collage. Later in the year, Braque adds printed papers to his drawings to make the first papiers

collés.

In the spring Picasso and Fernande break up; he leaves Paris for the south with Eva.

1913

Picasso and Eva spend part of the spring and summer in Céret, where Max Jacob joins them.

Picasso‟s father don José dies in early May.

1914

In the spring Eva has an operation for cancer. She goes with Picasso to Avignon for the

summer. He makes a brief visit to Paris at the end of July to withdraw all of his money from

the bank.

After the declaration of war, Picasso and Juan Gris (as non-combatant Spaniards) remain in

France, while Braque, Derain, Léger and Apollinaire enlist. Kahnweiler spends the war in

Switzerland. Picasso and Eva return to Paris in November.

1915

During the war years, Picasso associates with a new circle of artists and writers, including

Modigliani, Jean Cocteau, Jacques Lipchitz and Diego Rivera.

Braque is wounded.

Eva enters a clinic and dies on December 14.

1916

Apollinaire is wounded.

Picasso agrees to work with Cocteau and the composer Erik Satie on the décor for Parade for

Diaghilev‟s Ballets Russes.

1917

Picasso and Cocteau leave for Rome in February to work on Parade. Picasso becomes friendly

with the ballet‟s choreographer, the dancer Léonide Massine, with whom he and Cocteau visit

Pompeii, and the composer Igor Stravinsky. Among the dancers, he meets his future wife

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Olga Khokhlova. Parade is premièred in Paris (18 May); afterwards the Ballets Russes travel

to Spain, and Picasso joins them. He and Olga spend the summer in Barcelona, returning to

Paris in late November.

1918

Picasso and Olga marry in July and spend their honeymoon in Biarritz at the home of Chilean

art patron Eugenia Errazuriz

Picasso begins his association with the dealer Paul Rosenberg, who finds him an

apartment/studio next to his gallery on rue la Boétie, on the Right Bank.

Picasso‟s great friend Apollinaire dies (9 November).

1919

Picasso, accompanied by Olga, travels to London (May) to work on sets and costumes for the

Ballets Russes production of Tricorne, with music by Manuel de Falla and choreography by

Massine.

At the end of July, Picasso and Olga go to Saint-Raphaël in the south of France. The artist

works on a series of still lifes, looking out from his hotel room onto the Mediterranean.

1920

Picasso is at work on the ballet, Pulcinella (music: Stravinsky, choreography: Massine), first

performed at the Opéra (15 May).

Picasso and Olga, who learns she is pregnant, spend the summer at Juan-les-Pins.

1921

Birth of Picasso and Olga‟s son Paulo (4 February).

Picasso works on the décor of Cuadro Flamenco, a Ballets Russes production, with Spanish

flamenco dancers and music adapted by de Falla, which premières at the Gaïté-Lyrique in

May.

The Picasso family spends the summer at Fontainebleau, where the artist produces

monumental cubist and classicizing compositions, including two versions of the Three

Musicians.

1922

The Picassos spend the summer in Dinard. Late in the year Picasso designs sets for Cocteau‟s

adaptation of Sophocles‟ Antigone, with costumes by Coco Chanel.

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1923

Picasso, Olga and Paulo spend the summer in the south, staying at the Hótel du Cap at

Antibes.

On his return to Paris, Picasso is taken up by André Breton, Louis Aragon and other

surrealists; in the following years his cubist and later works are published in surrealist

journals.

1924

Picasso collaborates with Massine and Satie on the Soirées de Paris production (18 June),

financed by Beaumont, of Mercure, an experimental ballet much admired by the surrealists,

who publish an “Hommage à Picasso” in Paris-Journal.

Picasso takes his family to Juan-les-Pins for the summer.

1925

Picasso and his family return to Juan-les-Pins for the summer, where they see the Picabias,

who live nearby.

1926

The Picasso family again goes to Juan-les-Pins for the summer. On their way to visit his

family in Spain in the autumn, the canvases strapped to the top of his car are stolen.

While he is in Barcelona, he sees works by Salvador Dalí for the first time.

The Greek Christian Zervos founds the journal Cahiers d‟Art, which over the years frequently

features works by Picasso; Zervos begins in 1932 to publish the 33-volume catalogue

raisonné of Picasso.

1927

Early in January, Picasso meets the seventeen-year-old Marie-Thérèse Walter; their affair is

kept secret for several years, although coded references to her (including her initials) begin to

appear in his work.

During the summer, in Cannes with his family, he draws biomorphic bathers that reflect the

eroticism and sensuality associated with his new mistress.

1928

Picasso does the first of his tapestry designs, a Minotaur, for Marie Cuttoli.

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In the spring he begins his collaboration on soldered and welded sculptures with the sculptor

Juli González.

Picasso takes Olga and Paulo to Dinard for the summer; Marie-Thérèse stays in another part

of town.

1929

Picasso paints images of screaming women set against his own profile; in May he does a

series of bathers on a beach in Normandy.

The family once again spends the summer in Dinard; Marie-Thérèse is also there with her two

sisters.

Picasso and González are at work on Woman in the garden.

1930

June: Picasso buys the château de Boisgeloup, and sets up a sculpture studio there.

During his summer vacation at Juan-les-Pins, he makes sand-covered reliefs.

On his return to Boisgeloup in September, he works on etchings for Ovid‟s Metamorphoses,

published the following year by Albert Skira.

1931

At Boisgeloup Picasso does a series of monumental plaster sculptures, based primarily on the

features and voluptuous body of Marie-Thérèse.

He spends the summer with Olga and Paulo in Juan-les-Pins.

1932

225 paintings, 7 sculptures and 6 illustrated books are shown in the Picasso exhibition that

opens at the Galerie Georges Petit in June; the show travels to the Kunsthaus Zurich in the

autumn.

Picasso and Olga spend their summer holidays apart; he stays at Boisgeloup with Marie-

Thérèse.

1933

In the summer he vacations with Olga and Paulo in Cannes; they also visit Picasso‟s family in

Barcelona.

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1934

Coinciding with visits to Spain in 1933 and 1934, Picasso returns to the subject of the

bullfight, which he merges with the Minotaur in his graphic work. On the last trip he was to

make to his native country (August-September), he visits San Sebastián, Burgos, Madrid,

Toledo, Zaragoza and Barcelona, accompanied by Olga and Paulo.

1935

Picasso‟s domestic situation is in turmoil; from May to February 1936 he gives up painting

and instead writes poetry.

Picasso and Olga separate (they never divorce).

September: Marie-Thérèse gives birth to a daughter, Maya.

1936

Picasso does a stage curtain design for a revival of Romain Rolland‟s play, Le 14 juillet; a

new woman in his life, Dora Maar photographs the making of the curtain. During the

summer and autumn, Picasso and Dora are in Mougins.

He is forced to give up Boisgeloup as part of the division of property with Olga; he works for

a time in a studio at Vollard‟s house at Le Tremblay-sur-Mauldre, where he installs Marie-

Thérèse and Maya.

1937

January: Picasso is commissioned to paint a mural for the Republican pavilion at the Paris

World‟s Fair; in order to work on the canvas, he acquires a new studio, which Dora finds for

him at 7, rue des Grands Augustins.

After the German bombing of the Basque town of Guernica (26 April), Picasso takes this

outrage as the theme of his mural. The Spanish pavilion opens on 12 July. The exhibition

receives 30 million visitors before closing on 26 November.

He and Dora spend the summer in Mougins.

1938

In the summer Picasso and Dora again stay at Mougins.

Guernica and related studies are shown in England and (in 1939) the United States; the

painting remains at The Museum of Modern Art, New York, until 1981, when it returns to

Spain (Prado, then Centro de Arte Reina Sofia, Madrid).

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1939

Picasso‟s mother dies on 13 January; he does not return for the funeral because of the Civil

War.

An exhibition of 33 still lifes from 1936-38 is the last major show of Picasso‟s work in Paris

until 1944.

In the summer Picasso and Dora stay in Man Ray‟s studio in Antibes.

On 1 September Picasso and Dora move to Royan (on the Garonne Estuary), where Marie-

Thérèse and Maya are already installed.

1940

Late August: Picasso and Dora return to occupied Paris for the duration of the war. Marie-

Thérèse and Maya return the following year.

Many of Picasso‟s friends are in the Resistance and consider Picasso‟s anti-fascist politics

sympathetic with their own.

1941

One of the wartime meeting places for Picasso and his friends, including Braque, writers Paul

Eluard, Michel Leiris, Robert Desnos, Albert Camus, Jean-Paul Sartre and Simone de

Beauvoir, and composer Georges Auric, is the restaurant Le Catalan on rue des Grands

Augustins.

1943

Picasso meets the young painter Françoise Gilot; she first appears in his work later in the

year.

1944

Picasso‟s play, Le Désir attrapé par la queue (1941), is given a reading in Michel Leiris‟s

apartment on 19 March, under the direction of Camus, with Sartre, Beauvoir, Leiris and Dora,

among others, taking part.

In August, during the Paris uprising, Picasso moves in with Marie-Thérèse and Maya. After

the liberation of Paris, his rue des Grands Augustins studio becomes a gathering place for old

friends as well as British and American soldiers.

He joins the Communist party; this leads to demonstrations against him at the Salon de la

Libération (6 October).

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1945

Picasso begins making lithographs in the studio of Fernand Mourlot.

1946

Françoise begins to live with Picasso in Paris. In early July they go to the south of France;

Picasso accepts an invitation to paint in the local museum (the Château Grimaldi, renamed

Musée Picasso, Antibes).

1947

Françoise and Picasso‟s first child, Claude, is born (15 May); they go to Golfe-Juan at the end

of June and stay in the south through the winter. From 26 July he begins working at the

Madoura pottery in Vallauris.

1948

Picasso acquires La Galloise, a villa looking over the Vallauris potteries.

In August, with Eluard, he attends the first Congress of Intellectuals for Peace at Wroclaw in

Poland (25-28 August); he goes on to visit Cracow and Auschwitz.

1949

Picasso and Françoise‟s second child, Paloma, is born in Paris (19 April).

Now a leading communist, Aragon chooses a Picasso lithograph of a dove for the poster to

announce the Peace Congress in Paris (20-25 April).

In the late spring, the family returns to Vallauris and Picasso rents Le Fournas, where he sets

up studios for sculpture and painting; he also stores his ceramics there.

At the end of October he travels to Italy to attend a meeting of the Committee for World

Peace in Rome.

1950

A bronze cast of Man with a sheep is placed in the main square in Vallauris, with communist

officials presiding at the inauguration.

In October he attends the World Peace Conference in Sheffield, England; he is awarded the

Lenin Peace prize in November.

1951

In response to the Korean War, Picasso paints Massacre in Korea (Musée Picasso, Paris),

which he bases on Goya‟s Third of May, 1808 (1814).

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1952

In the spring Picasso starts working on plans for the decoration of a medieval chapel in

Vallauris as a temple of peace; he completes the panels at the end of the year and they are

installed in 1954.

In the summer he meets his future wife Jacqueline Roque Hutin, who is working at Madoura.

1953

In March a disagreement with officials of the Communist party over Picasso‟s portrait of

Stalin, reproduced in Les Lettres françaises at the time of the Russian leader‟s death (5

March), leads him to distance himself from the party.

He and Françoise begin to spend periods of time apart, leading to their break-up in the

autumn.

1954

He and Jacqueline begin to live with each other in Paris in the late summer.

After Matisse dies on 3 November, Picasso jokes that the older artist has “left him his

Odalisques”, and in December he begins his series of variations on Delacroix‟s Algerian

women and several versions of Jacqueline in Turkish costume.

1955

Picasso and Jacqueline move into the villa La Californie, above Cannes.

1956

Picasso begins working again in earnest on the theme of bathers and continues his paintings

and drawings of “indoor landscapes” (based on his studio and garden at La Californie).

1957

During the year Picasso begins to collaborate with the Norwegian Carl Nesjar, who uses a

sand-blasting technique to realize Picasso‟s maquettes (of cut-paper and other materials) in

large concrete sculptures.

1958

Picasso completes The fall of Icarus; the mural painted on separate panels is installed at the

UNESCO building, Paris, in September.

At the end of the year, he buys the château de Vauvenargues at the foot of Montagne Sainte

Victoire.

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1959

Working with Hidalgo Arnera in Vallauris, Picasso produces several series of linocuts,

including scenes of bullfights, nymphs and fauns.

In June Picasso‟s Monument to Apollinaire, a bronze head of Dora Maar (1941) on a stone

base, is dedicated in the churchyard of Saint-Germain-des-Prés in Paris.

1960

Picasso and Lionel Prejger begin a collaboration on cut sheet-metal sculptures.

The artist does paintings of the Roman arena at Arles, where he and his entourage frequently

attend bullfights (also at Nîmes and Fréjus) throughout the 1950s and 1960s.

1961

Picasso and Jacqueline marry and move to Notre-Dame-de-Vie in Mougins, where the artist

sets up his last studio.

He resumes work on ceramics with Madoura.

1962

He is awarded the Lenin Peace prize for the second time.

1963

Over the next two years Picasso paints “in a frenzy” a series of works relating to the theme of

the Painter and his Model.

In the spring he begins a fruitful collaboration with the brothers Piero and Aldo

Crommelynck, master printers who set up a press in the old bakery at Mougins.

In his last decade Picasso‟s life becomes more reclusive; many of his friends have died

(Braque dies in February 1963, Cocteau in December). He welcomes a few old friends,

including Pallarès, the poet Rafael Alberti and other Spanish-speakers, including the gypsy

guitarist Manitas de Plata and the Argentinian photographer Roberto Otero.

1964

During this year Picasso completes the maquette for the freestanding sculpture Head of a

woman, which is realized in Corten steel (18 metres high) and unveiled in the Chicago Civic

Center in 1967.

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1965

Newly invigorated themes appear in Picasso‟s work, including landscapes, and man and

child/family; illness interrupts this period.

1966

In the spring the subject of the musketeer appears in full force in drawings and paintings; and

in August he resumes working in earnest in printmaking.

In November an Hommage à Picasso exhibition with over 700 works is held at the Grand

Palais, the Petit Palais and the Bibliothèque Nationale in Paris. There are over 400,000

visitors before it closes in February 1967.

1967

He does paintings with specific references to Venus and Cupid, the circus and Spanish

grandees with plumed hats and swords.

1968

Between 16 March and 5 October Picasso works with the Crommelynck brothers to produce

the Suite 347, a suite of engravings, mixing various printmaking techniques and representing

a compendium of characters from Picasso‟s world.

1969

Picasso works ever more intensely, especially in painting and graphic work: still lifes, nudes,

musketeers and bearded men with long-stemmed pipes (with echoes of Rembrandt and of the

golden age of Spanish painting), the theme of the kiss and staring figures.

From 1 May to 30 September, 167 recent paintings and 45 drawings are exhibited at the

Palais des Papes, Avignon.

1970

Picasso gives his youthful work, which has been kept by his family in Spain, to the Museu

Picasso, Barcelona.

A second exhibition of late work in the Palais des Papes at Avignon (organized by Christian

and Yvonne Zervos, both of whom die in the course of the year) opens in May.

1971

In October the Louvre exhibits a selection of his works in honour of his ninetieth birthday.

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1972

Picasso‟s last paintings and drawings are intensely personal. His last dated works are done in

this year, including poignant paintings of embracing couples, drawings of nudes and reclining

figures (some of them in old age).

1973

On 8 April Picasso dies at Notre-Dame-de-Vie; he is buried on 10 April in the wall of the

château de Vauvenargues. His widow has a bronze cast of Woman with a vase (original

plaster, 1933) installed to mark his grave.

Picasso‟s own selection of late work (1970-72) is exhibited at the Palais des Papes in Avignon

in May-September, and his late ceramics are shown there in December.

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Complete list of works

1 Bird (sparrow)

La Coruða, 1895

oil on wood

Private collection

2 Women kneeling by a stream (the washing

place)

La Coruða, 1895

oil on wood

Private collection

3 Seated woman

Barcelona, 1895

pencil on paper

Fundaciñn Almine y Bernard Ruiz-Picasso

para el Arte

4 The artist‟s family in the evening

Velada familiar

Barcelona, c.1896

oil on wood

Museu Picasso, Barcelona

5 Woman reading and caricatures

Barcelona, 1896-97

charcoal on paper


para el Arte

6 Study for Science and Charity

Barcelona, winter-spring 1897

watercolour on paper


7 Spanish woman with a cigarette

Barcelona, 1899

charcoal and watercolour on paper

Private collection

8 Woman standing outside a café

Barcelona, 1899

charcoal on paper

Private collection

9 Woman outside a dance hall

Barcelona, 1899

oil on canvas


para el Arte

10 Self-Portrait

Barcelona, c.1899,

pencil on paper

Private collection

11 Head of a crying woman

Paris, January 1903

pen, sepia and black ink on paper

Musée Picasso, Paris

12 Woman wearing a shawl

Barcelona, 1903



13 Shepherds resting under a tree

Barcelona, 1903

violet ink and watercolour on paper

Private collection

1

14 Frugal repast

Paris, 1904

etching and scraper on zinc


15 Study for The Couple

Paris, summer 1904

black chalk on wash tinted paper


16 Group of Saltimbanques

Paris, 1905

indian ink, watercolour and charcoal

outline on paper


17 Two Saltimbanques

Paris, 1905

indian ink on paper

Fundaciñn Almine y Bernard Ruiz Picasso

para el Arte

18 Family of Saltimbanques

Paris, 1905

indian ink on paper

Private collection

19 Head of a woman, Fernande

Paris, early 1906 (cast 1960)

bronze (brown patina)

Private collection

20 Portrait of Fernande Olivier

Gñsol, summer 1906

wax crayon and pencil on paper

Private collection

21 Seated peasant woman

Gñsol, summer 1906

indian ink on paper

Private collection

22 Woman, boy and goat

Gñsol, summer 1906

pencil and watercolour on paper


para el Arte

23 Woman seen from the back

Gñsol, summer 1906 (?)

oil on canvas

Private collection

24 Head of a woman

Paris, autumn 1906

oil on wood

Private collection

25 Self-Portrait studies

Paris, autumn 1906

indian ink on paper

Private collection

26 Head of a man

Paris, May-June 1907


Private collection

27 Sketch for Les Demoiselles d’Avignon

Paris, June 1907


Private collection

2

28 Seated nude man

Paris, spring 1908

charcoal on paper

Private collection

29 Standing nude

Paris, 1908

pencil on paper

Private collection

30 Study of legs

Paris, 1908

watercolour and charcoal on paper

Private collection

31 Still life with fish and bottles

Paris, 1909

oil on canvas

Musée d‟art moderne de Lille Métropole,

Villeneuve d‟Ascq

32 Cubist composition (standing nude)

Paris, autumn 1910

oil on canvas

Private collection

33 Guitar player

Paris, spring 1912

pen and brown ink


34 Seated woman

Paris, spring 1912

indian ink and pencil on paper

Private collection

35 Man with a violin

Céret, spring 1912

wax crayon on paper

Private collection

36 Standing woman

Paris, autumn 1912

indian ink on paper

Private collection

37 Bust of a man

Paris, 1912

pencil on paper

Private collection

38 Cubist composition (seated man with a hat)

Paris, early 1913

oil and charcoal on canvas

Private collection

39 Guitar player with a hat

Céret, spring-summer 1913

indian ink and tinted wash on paper, with

inscriptions in brown ink


40 Seated man

Avignon, summer 1914

charcoal on paper

Private collection

41

Seated man with a moustache

Avignon, summer 1914

charcoal on paper

Private collection

3

42 Still life with a bottle of Vittel

Paris, 1915

oil on canvas

Private collection

43 Musical instruments and fruit bowl on a

round table

Saint-Tropez(?), summer 1915

pencil and watercolour on paper

Private collection

44 Head of a woman (Olga)

Paris, 1917

oil on canvas

Private collection

45 Self-Portrait

Biarritz, summer 1918

pencil on paper

Private collection

46 Olga Picasso, seated

Montrouge, autumn 1918

pencil on paper

Private collection

47 Still life on a guéridon between double

windows

Paris, autumn 1919

gouache on paper

Private collection

48 Composition with figure

Montrouge-Paris, 1918-20

oil on canvas

Private collection

49 Woman with a hat, seated in an armchair

(Olga)

Juan-les-Pins, 15 July 1920

pencil on paper

Private collection

50 Family at a religious ceremony

Paris, 25 December 1920

charcoal on paper

Private collection

51 Composition with blue cigar box

Fontainebleau, summer 1921

oil on canvas

Private collection

52 Mother and child

Fontainebleau, 25 July 1921

pencil on paper

Private collection

53 Mother and child

Paris, autumn 1921

oil on wood

Private collection

54 Woman with a missal

Paris, autumn 1921

gouache on paper

Private collection

55 Composition with black stripes

Dinard, summer 1922

oil on canvas

Private collection

4

56 Still life with Le Journal

Paris, June 1923

oil on wood

Private collection

57 Study for three graces

Antibes, summer 1923

indian ink on paper

Private collection

58 Head of a woman (Olga)

Juan-les-Pins, summer 1924

oil, charcoal and sand on canvas

Private collection

59 Man seated in an armchair

Juan-les-Pins, summer 1925

oil on canvas

Private collection

60 Painter with two models looking at a

canvas

Paris, January 1927

engraving

Private collection

61 Face of Marie-Thérèse

Paris, October 1928

lithograph

Private collection

62 Head of a woman in grey and blue (Marie-

Thérèse)

Dinard, 23 August 1929

oil on canvas

Private collection

63 The kiss with flowers

Dinard, 25 August 1929

oil on canvas

Private collection

64 Woman in grey and black

Dinard, mid-September 1929

oil on canvas

Private collection

65 Woman on a base

Boisgeloup, 1930 (cast in 1931)

bronze painted black (green patina)

Private collection

66 Woman


bronze with gilt patina

Private collection

67 Seated woman


bronze with black patina

Private collection

68 Woman lying in the sun

Boisgeloup, 26 March 1932

oil on canvas

Private collection

69 Siesta

Boisgeloup, 18 August 1932

oil on canvas

Private collection

5

70 Head of a warrior

Boisgeloup, 1933

bronze with brown-black patina

Private collection

71 The sculptor at rest, III

Paris, 3 April 1933

etching

Private collection

72 Sculpture of a young man with a cup

Paris, 11 April 1933

etching

Private collection

73 Nudes

Boisgeloup, 22 April 1933

pencil on paper

Private collection

74 Model and surrealist sculpture

Paris, 4 May 1933

etching

Private collection

75 Woman drawing

Paris, 5 February 1935

pencil on paper

Private collection

76 Portrait of a girl

Juan-les-Pins, 5 April 1936

oil, black chalk and pencil on canvas

Private collection

77 Face of a woman (Marie-Thérèse)


indian ink on board on cardboard

Private collection

78 Man with a mask, woman and child in its

carriage


pen, indian ink and tinted wash on paper


79 Woman writing a letter


oil on canvas

Private collection

80 Still life with a jug and a piece of bread

Juan-les-Pins or Paris, May 1936

oil on canvas

Private collection

81 Weeping woman

Paris, 1 July 1937

drypoint and multiple point (vélo), etching,

aquatint


82 Mythological scene on the shore

Paris, 7 January 1938

oil and charcoal on canvas

Private collection

83 Two fauns and a naiad


oil on canvas

Private collection

6

84 Man with an ice cream cone

Mougins, 26 July 1938

oil on canvas

Private collection

85 Women at their toilette

Paris, 1938 (original maquette); tapestry

completed in 1970

wool and silk

Private collection

86 Head of a woman, no. 2 (portrait of Dora

Maar)

Paris, March-April 1939

aquatint, scraper (grattoir) and drypoint in

four colours

Private collection

87 Head of a woman, no. 5 (portrait of Dora

Maar)

Paris, January-June 1939

aquatint, scraper (grattoir) and drypoint in

four colours

Private collection

88 Woman in grey and white

Paris, 25 October 1941

oil on canvas

Private collection

89 Portrait of a woman

Paris, 10 October 1943

oil on canvas


para el Arte

90 Still life with jug and glass

Paris, 19 July 1944

oil on canvas

Private collection

91 Head of a young woman (Françoise)


oil on canvas


para el Arte

92 Portrait of a woman (Françoise)


pencil on paper

Private collection

93 Françoise

Paris, 14 June 1946

lithograph

Private collection

94 Vanitas

Paris, 27 December 1946

oil on canvas

Private collection

95 Woman with a hat


oil on canvas

Private collection

96 Face

Vallauris, 11 October 1947

white earthenware, daubed and painted

with slips, glazed

Private collection

7

97 Head of a faun


white earthenware, daubed and painted

with slips, glazed

Private collection

98 Face


white earthenware, incised, painted and

daubed with slips, glazed

Private collection

99 Owl on a branch

Vallauris, 1947

white earthenware, incised, painted with

slip and oxide, heightened with coloured

glaze, under matt glaze

Private collection

100 Bird

Vallauris, 1947-48

white earthenware, thrown and assembled

elements, painted with coloured glaze

Private collection

101 Woman in a blue dress

Vallauris, 1947-48


elements, painted with slip and oxide,

glazed

Private collection

102 Still life


oil on wood

Private collection

103 Vase-face

Vallauris, 1948

bronze with brown patina

Private collection

104 Fish and crustacean on a round plate

Vallauris, 1949

white earthenware, incised and painted

with slips

Private collection

105 Bulls‟ heads

Vallauris, 1950-51

Madoura pot with handles


elements, painted with oxide and slip,

incised, glazed

Private collection

106 Games (Children at play)

Vallauris, 25 December 1950

oil and enamel paint on plywood

Private collection

107 Children‟s games

Vallauris, 14 June 1951

oil on plywood

Private collection

108 Flower vase

Vallauris, 1951 (cast in 1953)

bronze with brown patina

Private collection

109 Vase with thistles and a plate of cakes

Vallauris, 1951 (cast in 1953)

gilt bronze

8

Private collection

110 Face of a woman

Vallauris, 1952

gilt bronze with green patina

Private collection

111 Head of a goat

Vallauris, 5 June 1952; decorated, Cannes,

16 February 1956

white earthenware, painted with slips and

enamel, partially glazed

Private collection

112 Head of a goat

Vallauris, 1952; decoration 18 March 1953

white earthenware, painted with slips,

partially glazed

Private collection

113 At the circus

Vallauris, 29 January 1954

coloured crayons on paper

Private collection

114 Clown and reclining woman

Vallauris, 31 January 1954


Private collection

115 Painter and model

Vallauris, 1 February 1954


Private collection

116 Woman and children: the drawing

Vallauris, 15 May 1954

oil on canvas

Private collection

117 Mozarabic motif

Cannes, 20 March 1957

red earthenware (thrown), painted with

slips and oxide under glaze

Private collection

118 Les Demoiselles d‟Avignon

tapestry completed in 1958, based upon

original painting of 1907

wool

Private collection

119 Sun

Cannes, 1959

white earthenware, painted with slips and

incised, glazed

Private collection

120 Man running

Cannes, 1960

bronze

Private collection

121 Child

Cannes, 1960

bronze with gold patina

Private collection

122 Seated woman in a green dress

Cannes, 11 February 1961

oil on canvas

Private collection

9

123 Head of a woman

Cannes, spring 1961

metal cutout, bent and painted with Ripolin

Private collection

124 Trussed cock on a chair beneath a lamp

Mougins, 24-27 April 1962

oil on canvas

Private collection

125 Head

Mougins, 28 October 1962

oil on canvas

Private collection

126

Priapus


gargoulette (water vessel)

white earthenware, assembled thrown

elements, painted with slip, glazed

Private collection

127

The artist and his model

Mougins, 15 November 1964

oil on canvas

Private collection

128 Portrait of a man with laurel leaves

Mougins, 11 May 1969

oil on canvas

Private collection

129 Mother and child


oil on canvas

Private collection

130 Conversation


oil on canvas

Private collection

131 The embrace


oil on canvas

Private collection

132 Woman


oil on canvas

Private collection

133 Head

Mougins, 9 August 1971

oil on canvas

Private collection

134 Bust

23 August 1971, Mougins

oil on canvas

Private collection

135 Character


oil on canvas

Private collection

1

Biographies

Dr. MARILYN McCULLY

Dr Marilyn McCully was educated in the United States, where she received her doctorate in

the History of Art from Yale University in 1975. From that year until 1982 she was Assistant

Professor of Art History at Princeton University, where she taught both undergraduate and

graduate courses in nineteenth and twentieth-century painting and sculpture. In 1978 she

organized the exhibition Els Quatre Gats: Art in Barcelona around 1900 at the Princeton Art

Museum (also shown at the Hirshhorn Museum and Sculpture Garden, Washington DC in

1979).

In 1982 Dr McCully moved to England, where she has lectured widely and worked as a

writer. She has collaborated in the organization of several major international exhibitions,

including Der Junge Picasso (Kunstmuseum, Bern, 1984); Homage to Barcelona (Hayward

Gallery, London, 1985; Barcelona, 1987); Pablo Picasso: The Artist Before Nature

(Auckland City Art Gallery, New Zealand, 1989); The Art of Spanish Posters (Otani

Museum, Osaka, and other cities in Japan, 1991); Picasso: Painter and Sculptor in Clay

(Royal Academy of Arts, London and Metropolitan Museum of Art, New York, 1998-99);

Picasso: Scolpire e Dipingere la ceramica (Palazzo Diamanti, Ferrara, 2000); Cubismo

(Palazzo Diamanti, Ferrara, 2004); and Picasso Ceramics and Tradition (Aichi Prefectural

Ceramics Museum, Japan, and Museo Picasso Málaga, 2005).

Dr McCully is collaborating author with John Richardson on his four-volume biography, A

Life of Picasso: Vol. I appeared in 1991 and Vol. II in 1996. She has published numerous

articles and essays on Picasso, on Spanish art and architecture and on contemporary art in

journals and catalogues in England, the United States, Germany, Switzerland, Spain and

Australia. She is also the author of A Picasso Anthology: Documents, Criticism,

Reminiscences (London, 1981; Princeton, 1982); Picasso: A Private Collection (London,

1993); Loving Picasso: The Private Journal of Fernande Olivier (New York, 2001); and

Ceramics by Picasso (Paris, 1999), which was prepared in collaboration with Picasso‟s

grandson Bernard Ruiz-Picasso.

2

Dr. NAZAN ÖLÇER

Born in Istanbul, Dr. Ölçer studied Ethnology, Ancient History and History of Art at Ludwig

Maximilian University in Munich, Germany. During these years she worked intensively at the

collections of the University in the Departments for Antiquity and Ethnology, and later at the

Museum for Ethnology in Munich.

In 1972 she began working as curator at the Museum of Turkish and Islamic Art. In 1975 and

1978 she worked as guest curator at the Museum for Ethnology in Vienna and at the Museum

for Islamic Art in Berlin. In 1978 she was appointed as Director of the Museum of Turkish

and Islamic Art in Istanbul.

Ms. Ölçer has participated in a number of excavations, particularly those in Karatepe and

Adana in South Anatolia and in Selçikler/Uşak in Western Anatolia(1974 – 1979). She

participated and directed research projects, notably the work to settle the nomadic tribes

Beritan and Alikan in Eastern Anatolia (1979) and the documentation of traditional crafts and

craftsmen in Istanbul (1982 – 1984). Between 1976 – 84 she lectured at the Yıldız Technical

University, Istanbul in the City Planning and Restoration Department for the post-graduate

programmes.

In 2003 she retired from the Turkish and Islamic Art after 25 years of directorship and took

over the presidency at the newly founded Sakıp Sabancı Museum.

She holds posts in a number of international institutions including: National Committee of

Turkish International Council of Museums (ICOM); Turkish National Comittee of Unesco;

Board member of the International Committee for Architecture and Museum

Techniques(ICAMT); corresponding member of the German Archaeological Institute; Board

member of the National Foundation Preservation of Historical Monuments and Environment

(TAÇ); board member of The American Research Institute in Turkey (ARIT); advisory board

member of the Marmara University Faculty of Fine Arts and of the Mimar Sinan University,

Department of Fine Arts.

Dr. Ölçer has recieved the „Museologist of the Year‟ award from the Turkish Ministery of

Culture; the French Chevalier des Arts et des Lettres award; the German

Bundesverdienstkreuz Order; the Polish Kryzem Kawalerskim order from the President of The

Republic of Poland; and the order of „Cavalieri di Omri‟ from the Italian President. In 2003

she received an honorary doctorate from the University of Bern, Switzerland for her great

contribution to the understanding of different cultures between nations.

She has directed many documentary films on traditional handicrafts made for the Institut für

den wissenschaftlichen Film, Vienna, and for the Scientific Film Institute in Gôttingen,

Germany. She has also published her work on carpets and kilims and the art of metalworking,

as well as on museology and cultural changes.

3

JOHN RICHARDSON

John Richardson was born in London in 1924. He studied at the Slade School of Art and

went on to work as an industrial designer before becoming an art and fiction critic. In 1951

he moved to Provence, where he and Douglas Cooper, the British collector, bought the

Château de Castille near Avignon and transformed it into a private museum of cubism.

During the next ten years he lived in France and became a close friend of Picasso, as well as

of Braque, Léger and de Staël. Besides writing books on Manet and Braque, he embarked on

an analytical study of Picasso‟s portraits, now part of his on-going biography.

In 1960, Richardson moved to New York, where he organized a nine-gallery Picasso

retrospective in 1962 and a Braque retrospective in 1964. Christie‟s then appointed him head

of their US operation, which he ran for the next nine years. In 1973 he joined M. Knoedler &

Co., Inc. as Vice President in charge of 19th

and 20th

century painting, and later became

Managing Director of Artemis, a mutual fund specializing in works of art. In 1980 he

decided to devote all his time to writing. Besides working on his Picasso biography, he has

been a contributor to The New York Review of Books, The New Yorker and Vanity Fair. In

1993 he was elected to the British Academy and in 1995 was appointed Slade Professor of

Art at Oxford.

The first volume of his four-volume Picasso biography was published in 1992 to wide

acclaim and won England‟s prestigious Whitbread Prize. The second volume was published

in November 1996, and the third volume (1917-1932) is scheduled to be published next year.

In 1999 he published a memoir, The Sorcerer’s Apprentice, and in 2001 a collection of

essays, Sacred Monsters, Sacred Masters. He currently divides his time between an

apartment in New York City and a country house in Connecticut.

4

GULER SABANCI

After graduating from TED Ankara College and Bosphorus University (Business

Administration) Ms. Güler Sabancı started to work for LASSA Lastik Sanayi ve Ticaret A.S.,

in 1978. Following LASSA, she became the General Manager of KORDSA Kordbezi Sanayi

ve Ticaret A.S., and ran this company for 14 years as a Board Member and General Manager.

While she was working for KORDSA, she was also the core member of a team to set-up a

number of JV‟s for Sabancı Group and overseeing the part of the operations of these JV‟s.

After serving as the President of Tire and Reinforcement Materials Group for five years, in

May 2004 Ms. Güler Sabancı was elected to her current post as the Chairperson and

Managing Director of Sabancı Holding A.S. Güler Sabancı is also the Chairperson of Human

Resources Committee of Sabancı Holding.

Other than the industrial business world, she is also active in academia. She was responsible

for the foundation of Sabancı University and today she is the Chairperson of the University‟s

Board of Trustees.

In 2005 she was ranked 17th in the Fortune magazine‟s list of “The 50 Most Powerful

Businesswomen”, while she was ranked eighth in the Financial Times list of the “Most

Powerful Women In Europe”.

Ms. Güler Sabancı is the Board Member of Turkish Businessmen and Industrialists

Association and Istanbul Art and Culture Foundation. She also runs her vineyard, producing

wine under her special brand name.