Matisse and Picasso: a comparison between giants – World

Pablo Picasso, Femme couchée lisant, 1939. © Succession Picasso 2018

World – While preparations are underway for Picasso Masterpieces, who will exhibit in Paris the best painting of the great Andalusian, this summer the appointment is to Nice, Matisse Museum for a comparison to the summit between two geniuses of the twentieth century.
Inserted in the international program Picasso – Mediterranée and awarded the title "Exposition of National Interest" for 2018, until September 29 Matisse et Picasso, la comédie du modèle focuses on one of the most fruitful rivalries in the history of art a friendship between giants nourished by continuous exchanges of opinions, bitter contrasts and mutual inspiration.

The two artists, who frequented themselves for a long time on the Côte d'Azur, were attracted with the same intensity with which they repelled, and none of them was afraid to point out how distant their experiences could be. Despite the mutual esteem, it is even said that Picasso used a painting given to him by Matisse (the Portrait of his daughter Margaret ) as a target to play darts during the dinners in company, or that the revolutionary Les Demoiselles d'Avignon was born as a gesture of challenge to the leader of the Fauves with which Picasso, younger than 12 years, had already engaged in an obsessive competition.

A few dozen meters from Matisse's atelier, which Picasso regularly frequented since the forties, today there is a gallery of exceptional works – paintings, sculptures, graphic works – about forty of them come from Musée Picasso of Paris and another 120 from prestigious public and private collections.
The exhibition, which in the title cites an expression of the surrealist poet Louis Aragon, is a journey between Fauvisme, Cubism and much more, between "the North Pole and the South Pole" as Gertrude Stein defined the explosive couple, articulated in four thematic sections: Design Transform Desire Own . In evidence the crossed influences the irreducible differences the suggestive resonances traceable in the production of both, investigated also in light of the relationship with the models central – for Matisse as for Picasso – in the reflection on the representation of the body and on the creative act tout court.

And to relive the atmospheres of the French Riviera frequented by the two, a selection of historical shots of an author from Dora Maar a Brassa ï up to Henri Cartier-Bresson shows the masters at work, documenting the intellectual exchanges and the transfer of works between the houses of one and the other. Final treatise: excerpts from the films Le mystère Picasso by Georges Clouzot (1956) and Henri Matisse by François Campaux (1946).

Read also:
• In Provence the Museum of Picasso and Jacqueline
• Picasso and the myth of the ancient. In the fall a great exhibition at the Palazzo Reale
• A young Picasso at the Fondation Beyeler for the exhibition of the year

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