Picasso. Myths, Fables and Models
Starting on 3 April 2009, KUNST HAUS WIEN will present the exhibition
"Picasso – Myths, Fables and Models". With 120 graphic works by Pablo Picasso, taken from five creative periods spanning approximately a decade each, the exhibition leads us into Picasso's universe of motifs and obsessions.
The life themes and metamorphoses that fascinated Pablo Picasso
(1881–1973) run like a bright thread through the fabric of the
exhibition. Here we find the bullfight and the figure of the Minotaur,
cubist structures as well as demonstratively classical representations.
Various women with whom Picasso had major relationships served
as models for graphic works that reveal his artistry as a portraitist as well as his superior mastery of various styles. In this exhibition, we most often see Marie-Thérèse Walter and Françoise Gilot. The works from various periods of Picasso's life reflect the changing nature of his artist-model relationships, while his identification with the complex figure of the Minotaur, especially, touches on the essence of the artist's
Besides painting and drawing, Picasso also used sculpture and
ceramics as forms of expression, but it is probably his graphic oeuvre
that most clearly demonstrates his method of working. The exhibition
presents, in particular, lithographs and etchings in a thematic context
within the continuum of Picasso's creative periods. In addition to
numerous other works from the collections of the Graphikmuseum Pablo
Picasso Münster, the Vollard Suite, created in the 1930s on commission
for the art dealer and publisher Ambroise Vollard, forms one of the
cores of the exhibition. In Picasso's various print series it is
particularly easy to follow the numerous steps of (often major) revision
undertaken by the artist. As if it were being shown in time-lapse
a motif will pass through various styles of representation, which Picasso did not hesitate to employ in juxtaposition.
Portrait series and nudes, mythological scenes with centaurs, fauns and bacchanals, as well as lesser known depictions of animals and interiors invite the beholder to partake in a many-faceted encounter with the unfathomed "myth of Picasso".