Scuderie del Quirinale - PICASSO. Between Cubism and Classicism: 1915-1925

Pablo Picasso, Deux femmes courant sur la plage (La course) [Due donne che corrono sulla la spiaggia (La corsa)], 1922. Gouache su tavola, 32,5 x 41,1 cm. Parigi, Musée National Picasso-Paris, Dation Pablo Picasso, 1979 © Succession Picasso, by SIAE 2017
From a distance of a hundred years, the exhibition will retrace Picasso's 1917 trip to Rome and Naples following Sergei Diaghilev's company Ballets Russes with poet Jean Cocteau and musician Igor Stravinsky. This was the trip during which Picasso met and fell in love with Olga Khokhlova, the first dancer in the company and his first wife.
Pablo Picasso, Paul en Arlequin [Paolo vestito da Arlecchino], 1924. Olio su tela,130 x 97,5 cm. Musée national Picasso-Paris, Parigi, Dation Pablo Picasso © Succession Picasso, by SIAE 2017
Pablo Picasso, Portrait d’Olga dans un fauteuil [Ritratto di Olga in poltrona], 1918. Olio su tela, 130 x 88,8 cm. Musée national Picasso-Paris, Parigi. Photo: Mathieu Rabeau / RMN-Réunion des Musées Nationaux/ distr. Alinari © Succession Picasso, by SIAE 2017
Pablo Picasso, Arlequin (Léonide Massine) [Arlecchino (Léonide Massine)], 1917. Olio su tela,117 x 89,5 cm. Barcellona, Museu Picasso, Given by the Barcelona City Council, 1963
Photo: Archivi Alinari, Firenze © Succession Picasso, by SIAE 2017
Pablo Picasso, Arlequin et femme au collier [Arlecchino e donna con collana], 1917. Olio su tela, 200 x 200 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Parigi. Photo: Centre Pompidou, MNAM-CCI/Bertrand Prévost / RMN-Réunion des Musées Nationaux/ distr. Alinari © Succession Picasso, by SIAE 2017
In addition to those few but decisive weeks spent in Italy – critical in the development of Picasso's post-war art – the exhibition examines his work immediately following his time there, casting light on his exceptional capacity for experimenting with different styles, from the joyful decorativism of collage-inspired works to the stylized realism of the paintings from the so-called Diaghilev years, from his still lifes with their Cubist leanings to the antiquity-inspired portraits with their solemnity evocative of the classical world.
Pablo Picasso, La Flûte de Pan [Il flauto di Pan], 1923. Olio su tela, 205 x 174 cm. Parigi, Musée National Picasso-Paris © Succession Picasso, by SIAE 2017
Pablo Picasso, Femme assise en chemise [Donna seduta in camicia], 1923. Olio su tela, 92,1 x 73 cm. Tate, Bequeathed by C. Frank Stoop 1933 © Succession Picasso, by SIAE 2017
Pablo Picasso, Arlequin au miroir [Arlecchino con specchio], 1923. Olio su tela,100 x 81 cm. Madrid, Museo Thyssen-Bornemisza © Succession Picasso, by SIAE 2017
Pablo Picasso, Saltimbanque assis, les bras croisés [Saltimbanco seduto con braccia conserte], 1923. Olio su tela,130,5 x 97 cm. Tokyo, Bridgestone Museum of Art, Ishibashi Foundation © Succession Picasso, by SIAE 2017
The exhibition includes extraordinary masterpieces generously loaned from the most prestigious museums in the world, from the Musée Picasso in Paris – a partner in the project – to the MoMa in New York, the Tate in London, the Museu Picasso in Barcellona, the Guggenheim in New York, the Thyssen in Madrid, the Cleveland Museum of Art, the Bridgestone in Tokyo, the Berggruen Museum in Berlin and the Fondation Beyeler in Basil.  
Pablo Picasso, Sipario per il balletto “Parade”, 1917. Tempera su tela,1050 x 1640 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Parigi © Succession Picasso, by SIAE 2017
Because of its monumental dimensions (10 x 16 metres), the immense stage curtain Picasso (above) painted for the ballet Parade in 1917, on loan from the Centre Pompidou in Paris, cannot be displayed in the Scuderie del Quirinale. It is presented under the vault frescoed by Pietro da Cortona in the Salone of Palazzo Barberini, part of the Gallerie Nazionali di Arte Antica museum network.
Until January 21, 2018

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