Word: picassos
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...drawing stands out from this group, Head of a Woman, painted in Horta de Ebro of Picasso's lover Fernande. The drawing of crayon and guache shows a discernable change from Mill at Horta, painted in the same summer, as Picasso's style evolves into an increasingly geometrical and manipulative analysis of form. In the catalog, Tinterow explains the formal changes in Picasso's art during this intensely prolific summer. Another especially rich period well-represented is that of the early 1930s. The Studio of 1933 is an intriguing work that Tinterow says is related to Picasso's cubist works...
TINTEROW intends the exhibition to be a comprehensive yet selective representation of Picasso's best works, concentrating on his transitional and revolutionary phases: 1906-7, 1914, 1919, 1933, and his final years. But the Fogg puts these into context with works ranging from Picasso's earliest studies (drawn at age 13) to his self-portrait executed just months before his death...
...throughout his life, Picasso drew and painted self-portraits, some more recognizable than others. Some have even contended that his minotaurs are self-portraits, but it is clear that the theme of his identity permeates all of his stylistic and other thematic changes. The last entry Tinterow makes in the catalogue and the last drawing in the chronology, is part of a series of self-portraits from the last year of his life, where Picasso "confronts" the concept of his own death by depicting himself in various ways. Here, the head is that of a skull, with sunken cheeks...
Tinterow, like William Rubin in the New York MoMa show, has hung the works in chronological order. Simple, perhaps, for any other artist's work but for the genius of Picasso, two drawings executed even just months apart could be virtually unrelated and express entirely different facets of his life and world. The timeline of his work is not straight; it does not start at one point and end at another. Instead, Picasso spirals and soars, coming back to motifs and themes of his early life and also to those of his predecessors. The catalogue would facilitate what understanding...
BECAUSE TINTEROW'S selection process was deliberate and careful, the exhibition is easier to ingest than the MoMa show, which was ten times the size. Tinterow has successfully pared down Picasso's works on paper to a tight package, interesting to the giants of the art world, and intriguing to those who bring little previous knowledge of art to the Fogg. The exhibition is not one to be missed, and if the crowd of 1400 who came in out of the rain for the opening Thursday night is any indication, it will...