Picasso: Encounters looks at artist’s experimentation and collaboration in printmaking

Picasso’s prints and paintings on view at the Clark Art Institute Until August 27

 

WILLIAMSTOWN, Mass.—Picasso: Encounters, on view at the Clark Art Institute June 4–August 27, investigates how Pablo Picasso’s (1881–1973) creative collaborations fueled and strengthened his art, challenging the notion of Picasso as an artist alone with his craft. The exhibition addresses his full stylistic range, the narrative themes that drove his creative process, the often-neglected issue of the collaboration inherent in print production, and the muses that inspired him, including Fernande Olivier, Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot, and Jacqueline Roque.

Organized by the Clark with the exceptional support of the Musée national Picasso–Paris, Picasso: Encounters is comprised of thirty-five large-scale prints from private and public collections and three paintings including his seminal Self-Portrait (end of 1901) and the renowned Portrait of Dora Maar (1937), both on loan from the Musée national Picasso–Paris.

Picasso: Encounters includes a series of four unpublished linocut trial proofs modeled after Édouard Manet’s 1863 painting, Luncheon on the Grass, offering a unique perspective on the artist’s and printer’s process. The four proofs on view were eventually combined to create the final linocut, which is also shown in the exhibition.

Music heard on this show

Thank you to the following brilliant artists for their musical contributions:

Eliza Edens, who opens for Sarah Lee Guthrie and who blew us away with her March 2017 EP Low Light, from whence the song, “Balaclava” came.

Sarah Lee Guthrie, who will be performing July 1 at the new Shaker Barn Music, Summer Series, at Hancock Shaker Village.

Jeewon Park playing Frederic Chopin’s “Prelude No. 5 in D major, op. 28” on the Alma-Tadema piano; courtesy The Clark Art Institute

Orchestrating Elegance: Alma-Tadema and Design

Elaborate design, exquisite craftsmanship in furniture, paintings, sculpture,

and decorative arts of Sir Lawrence Alma-Tadema.

And, as resurgent interest in Sir Lawrence Alma-Tadema (British, born Netherlands 1836–1912) raises appreciation and interest in his work for a new generation, the Clark Art Institute offers new insight into one of the painter’s most successful and distinctive artistic endeavors—the design of a music room for the New York mansion of financier, art collector, and philanthropist Henry Gurdon Marquand (1819–1902). Orchestrating Elegance: Alma-Tadema and Design, curated by Kathleen M. Morris and Alexis Goodin, reunites twelve of nineteen pieces from the original furniture suite, along with paintings, ceramics, textiles, and sculpture from the room for the first time since Marquand’s estate was auctioned in 1903. The Clark’s ornately decorated Steinway piano, acquired in 1997, is the centerpiece of the exhibition.

A Gilded Age Evening at the Clark

 

Gilded Age elegance and exquisite cuisine combine to create an unforgettable evening at the Clark. Guests will enjoy a private,