One might say: "It was such a show ever and such an exhibition will also never be possible!" From this statement, however, agrees only one part, and that is almost certain that such an exhibition will never again be possible, the effort, but mainly because of the cost - but: it was this issue before. But back then it was just as today a very lucky place that she could, or rather it was just a hard-earned wonder the persistence of certain tough personalities due:
Kunsthaus Zurich: Picasso, 1932 and 2010
Man Ray , Pablo Picasso , 1933 (detail), © Man Ray Trust / 2010 ProLitteris , Zurich
1932 succeeded because of various circumstances, Picasso and, above all, his gallery to move a solo exhibition in Zurich to agree a retrospective. Basically Picasso was an exhibition, but it was not many options. In most European countries no contemporary artists were shown in Germany was the political situation uncertain and the only modern institution in the United States did not accept the "Conditions" agreement. Alfred Barr could not or would expose the integrity of the newly opened MoMA not critical suspicion, by being an exhibition curated by the artist himself and the trade ran out. And so was Switzerland, the art house to sell with the possibility of the show out when and in the economic crisis rather the advertising Sales in the foreground, the perfect place for a retrospective. Living as an artist was also quite unusual.
two-century exhibitions
About 200 paintings and sculptures were shown 1932nd From early works of the so-called "blue period" to fresh in the exhibition year incurred
.
installation views, 1932, © Kunsthaus Zurich
Impossible, all the works shown in 1932 again today to create a place, but a large part and some important, significant works by Picasso oeuvre succeeded Tobia Bezzola again to Zurich to h oils.
The "Picasso style"
The exhibition recognizes to the increasingly so designated phases of Picasso (the alternate but actually overlap and repeat), which are rather different form languages. Stark summarized: to recognize a figurative, in the classical paintings exaggerated corporeal expression and you can see with the cubist works, the deconstruction , the splintering, the focus verflächigen the mold. And the third shows the surrealist mode of expression, the stretch warp, melt, the mold. In the works of 1932, such as a portrait of Marie-Therese Walters, sitting on a chair, it is already an impression require, establish to what Picasso in the next few years. He
figurative combines elements of cubism and surrealism used as a catalyst to make this link possible. The figure is not only ready to buy and not destroyed or deconstructed , it is now ready to buy regardless of time and space from different perspectives and to different levels of understanding at the same time, doing something that only Picasso. That is why he is loved by so many while reaping so much misunderstanding. But this ambivalence makes him an eternal modernity.
The yellow belt: Marie-Thérèse
( La ceinture jaune : Marie-Thérèse ), 1932
oil on canvas, 131 x 97 cm
Courtesy Nahmad Collection, Switzerland
The most expensive exhibition of the art house
The value should be in the arts do not talk, especially when, as in the case of Picasso, fantasy totals is that any comparison mocked. On the art market would most probably reach the paintings at prices between 20 and 80 million €. One can appreciate the difficult, but experience and previous auctions suggest this. With over 70 paintings, 3 bronze sculptures and etchings, some can be a total value suspect who went into the billions, these works stood for sale - What now sounds so shamelessly, 1932 was in fact custom , dasKunsthaus sold out of the exhibitions. So you can only guess what astronomical insurance value stood in the way of the exhibition. No museum in the world can lift this amount of money alone. That is, it had several insurance companies together with the art house and the Credit Suisse protect these immense values. Thus it can be assumed that this show is in a different place, or in any other museum would have been possible.
man with a clarinet (L 'homme à la clarinet), 1911/12Öl on canvas, 106 x 69 cmMuseo Thyssen-Bornemisza , Madrid
have tasted it must curator Tobia Bezzola incredible persuasion to snatch all these unique art works of their owners and guardians for the period of the exhibition. Emphasis needs to be in this context, the Musée Picasso in Paris, that apparently is the only museum complete the project on the art house and ignored not only by its absence but above all shines rudeness that goes far beyond the usual arrogance of French museums in terms of loans.
Seated (Woman in shirt) ( Femme assise ( Femme à la chemise )), 1921Öl on canvas, 116 x 73 cm National Gallery Stuttgart, collection Steegmann
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