Stored away between the paintings and sculptures in MoMA’s storage facility lay a forgotten treasure from the Museum’s past: 11 disassembled pieces of the original stretcher from a Pablo Picasso masterpiece. Museum registrars rediscovered the group of stretcher bars during routine organization earlier this year, and since stretchers are occasionally replaced to ensure that a canvas is adequately supported, the discovery did not immediately strike them as significant. However, the large size and design of the parts of one stretcher were very unusual.
Posts tagged ‘Pablo Picasso’
That all-caps title was the message relayed by MoMA staff from Alfred H. Barr, Jr., the Director of Museum Collections, to René d’Harnoncourt, the Museum’s director, confirming that the landmark exhibition The Sculpture of Picasso would indeed
MoMA recently launched its first digital-only publication, Picasso: The Making of Cubism 1912–1914, edited by Anne Umland and Blair Hartzell, with Scott Gerson. This immersive, interactive study features over 400 high-resolution images and the latest research on 15 groundbreaking Cubist works created by Picasso between 1912 and 1914, and is available as an iPad app through the App Store, or an interactive PDF through MoMAstore.org.
First published in 1971 and newly reissued by MoMA, Living Well Is the Best Revenge by New Yorker staff writer Calvin Tomkins is the now-classic account of the lives of Gerald and Sara Murphy, two fascinating American expatriates who lived an extraordinary life in France in the 1920s.
MoMA’s celebration of the landmark year 1913 continues with the tenth in a series of videos highlighting important works from 1913 in the Museum’s collection.
In the May 1951 issue of ARTnews a selection of photographs by Hans Namuth appeared as illustrations for Robert Goodnough’s article, “Pollock Paints a Picture.” The images depict a focused Pollock energetically applying paint to a large canvas spread across his studio floor.
History and progress—two seemingly diametrically opposed concepts. Yet, both are expertly realized in Pablo Picasso’s Boy Leading a Horse, one of the masterpieces featured in The William S. Paley Collection: A Taste for Modernism.
More and more, art historians are turning to science and technology to help solve the mysteries laid in paint by artists throughout the centuries. Chemical analysis of paint chips has been used to explain the discoloration of cadmium yellow in a van Gogh still life. “Emotion recognition” computer software has been applied to the Mona Lisa to try to decipher that ever-inscrutable smile.
The artists who first glimpsed Picasso’s cardboard Guitar around 1912 marveled—and sometimes scoffed—at its fragility and seeming impermanence, but almost 100 years later its continued survival, while miraculous, is not its only notable quality. What do artists, in 2011, standing in front of the cardboard Guitar and its sheet-metal counterpart have to say? With this question in mind, curator Anne Umland and I asked a diverse group to visit Picasso: Guitars 1912–1914 and share their impressions.
Reading the “I went to MoMA and…” notecards, we’ve started to notice the guitars… a lot of guitars. People draw guitars of all shapes and sizes; realistic guitars, Cubist guitars, abstract guitars; guitars by kids, guitars by grownups, guitars by people from many different countries. The inspiration, of course, for this outpouring of guitar drawings is our current exhibition Picasso: Guitars 1912–1914.
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