This exhibition follows the history of Spanish art by showing works by Picasso alongside valuable archaeological artefacts and paintings by great masters such as Zurbarán, Velázquez, Goya, María Blanchard and Juan Gris, among other artists, in an ambitious show that moves from Iberian art, through Classical Antiquity, and ends with the modern art of Picasso’s own contemporaries.
The exhibition retraces the intellectual journey Picasso made from south to north, using the symbolic heritage of his homeland to return somehow to his origins. It focuses on the profound imprint that Mediterranean culture left on the Malaga-born artist’s work, making a connection with the historic and artistic heritage of Spain, of which he was a great connoisseur.
The aim of Picasso’s South. Andalusian References is to illustrate how the visual nature of Picasso’s work holds features and qualities, such as austerity or loss of faith, that are similar to those of Spain’s own collective memory and are both tangible in its artistic heritage and present in the emotional expression of people who have been artistically constructing a cultural identity for many centuries. In the case of Andalusia, it is clearly that of a melting-pot of three different cultures.
The exhibition will bring together around 200 artworks, showing paintings, sculptures, drawings and graphic works by Pablo Picasso alongside a significant number of archaeological artefacts from the Iberian and Phoenician cultures and the Greco-Roman period, as well as paintings, engravings and polychrome sculptures by great masters such as Alonso Cano, Juan Sánchez Cotá, El Greco, Francisco de Goya, Diego Velázquez o Francisco de Zurbarán. The exhibition will refer to subjects that form part of Picasso’s iconography, such as the rituals of bullfighting, still life, vanitas paintings, motherhood and religious rites, and his artistic affinity with the Spanish Baroque painters, revealing aspects of his strong identification with, and novel interpretation of the artistic legacy of Spain.
The exhibition includes valuable contributions from institutions such as Musée national Picasso–Paris; Fundación Almine y Bernard Ruiz-Picasso para el Arte; Centre Pompidou; Fondation Beyeler; Kunstmuseum Basel; Musée des Beaux-Arts, Agen; Museu Picasso Barcelona; Museo Arqueológico Nacional; Museo Nacional Centro de Arte Reina Sofía; Museo Nacional Thyssen-Bornemisza; Real Academia de Bellas Artes de San Fernando; Fundación Mª Cristina Masaveu Peterson; Fundación Fondo de Cultura de Sevilla (FOCUS); Fundación Juan March; Fundación Bancaja, Valencia; Museo national d’Art de Catalunya; Museo de Zaragoza; Museo Nacional Arqueológico de Tarragona; Museo de Santa Cruz, Toledo; Colección de arte ABANCA; Colección Juan Abelló; Colección del Senado, Madrid; Museo de El Greco, Toledo; Asociación Colección Arte Contemporáneo – Museo Patio Herreriano, Valladolid; Archivo Manuel de Falla; Fundación Rodríguez-Acosta; Museo de Almería; Museo de Cádiz; Museo Arqueológico de Córdoba; Museo de Bellas Artes de Granada; Museo de Huelva; Museo de Jaén; Museo de Málaga; Museo Arqueológico de Sevilla; Museo de Bellas Artes de Sevilla; Museo de Almeria; Museo Catedralicio de Granada; Museo de la ciudad de Antequera; and a number of private collections.
The exhibition Picasso’s South. Andalusian References will be held at Museo Picasso Málaga from 9th October 2018 to 3rd February 2019, coinciding with the Fourth International Picasso Congress, at which experts from around the world will present and discuss the latest academic papers on Picasso’s work. The purpose of this year’s edition is to explore new ways of understanding the artist’s work, based on research into its historical context and the impact of his work in this context.
Museo Picasso Málaga
Palacio de Buenavista
C/ San Agustín, 8 Málaga | Spain
Pablo Picasso, La femme qui pleure, [27 June] 1937. Oil on canvas, 55 × 46 cm. Fondation Beyeler, Riehen/Basel, Beyeler Collection © Fondation Beyeler, Riehen/Basel, Beyeler Collection
Photo: Robert Bayer © Sucesión Pablo Picasso, VEGAP, Madrid, 2018