mostra di Picasso a Milano

The Picasso exhibition in Milan: the Metamorphoses at Palazzo Reale

Picasso returns to Milan in a face to face withancient art. The master of Rum raisin is the protagonist of the Milanese autumn and leader of the exhibition program of Royal Palace, with an event that investigates the multiform and profound relationship that the Spanish genius had with classicism throughout his long career. Already as a child, thanks to his father, professor of Hellenistic art, Picasso was at home among museums and he learned to give a voice to ceramics and vases, from the geometric style to the red and black ones of the Ancient Greece. A love, an osmosis. To explain the nature of this bond he himself thinks: “If all the stages of my life could be represented as points on a map and joined with a line, the result would be the figure of the minotaur“. Yep, the art of Cretethe myth of Ariadne and Theseus, the large and “shapeless” forms of that ancient monster that shaped his thoughts so much. Ipse dixit and so the Picasso exhibition in Milan“Metamorfosi”, from 18 October 2018 to 17 February 2019, is the Milanese stage of a European review on Picasso which, in the last three years, has touched not only Italy, but also the France and the Spain involving beyond 70 cultural institutionswith the aim of relaunching research on the work of Pablo Picasso.

The Picasso exhibition in Milan: Pablo the Milanese

In the shadow of the Duomo (presales already open from May on mondomostreskira-gruppi.vivaticket.it) one of the most classic sold out is expected also because, with Caravaggio And Leonardo, Picasso is one of the most loved artists of the Milanese. For the genius of Rum raisinin fact, this exhibition is the third “visit” to the city after historic landing of Guernica which in 1953 – a true gift of the master to the city – was exhibited in the room of the Caryatids of Palazzo RealAnd. Fifty years later, in 2001, four days after the attack on the twin towers of New York, it was Picasso who tried to lift the hearts of the Milanese with an exhibition curated in collaboration with the artist’s heirs. Finally, the last cubist passage in Milan dates back to 2012 with a great chronological excursus in a monographic of great impact. And now it’s up to Picasso 2018 and Metamorfosi, organized by the Municipality, in collaboration with World Exhibitions Skira and directed by Pascale Picarddirector of the Civic museums of Avignon.

Picasso exhibition in Milan Femmes à la fontaine

The Picasso exhibition in Milan: two hundred works, six sections

They will be about 200 works in a reasoned and articulated exposition in six sections between Picasso’s works and ancient works of art placed in dialogue with those of the master just as the claim of the Picasso exhibition in Milan suggests, that Metamorphosis which in turn recalls a large part of ancient literature, Ovid, primarily. Sculptures, paintings, vases, votive plaques, reliefs, idols, steles and ceramics come, primarily from Parisfrom the National Picass Museumor, from Louvrefrom the center Pompidou and fromOrangery. Another series comes from Vatican museumsfrom the archaeological museum of Naples, from Picasso museum from Antibesfrom the Museum of Fine Arts of Lyon and again since museu Picasso from Barcelona.

The Picasso exhibition in Milan: one kiss, a thousand kisses

The exhibition opens with a cultured and didactic comparison to understand the theme of metamorphosis in art: so alongside Picasso’s canvases on the theme of the kiss, other great interpreters of this theme also gather, from Jean D. Ingres to Auguste Rodin. Among the other topics investigated are that of preparatory studies for Demoiselles d’Avignon, a true manifesto of his new aesthetic. Picasso was mainly inspired by the figures of the gods vases of the Dypilon which the master admired for a long time at Louvre which remains one of the places of choice where the artist shaped his adolescent taste.

Picasso exhibition in Milan

The Picasso exhibition in Milan: Arianna and the others

Another female theme investigated by Picasso is that of the odalisques that owe much to the classic theme ofAriadne asleep. Instead, they are pottery made after the war forward, the artifacts on which the anthropological analysis of the ancient hinges. The last section is dedicated to this form of art, which deals with the potential of terracotta shaped by Picasso as an evolution of a product that becomes a work of art. The show is a great excursus that penetrates the artist’s most intimate laboratory, in the light of the ancient sources that inspired his work. His strength is to highlight that alchemy that places classical antiquity at the heart of a modernity of 20th century art.

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