Picasso, Braque and Early Film in Cubism
This will be PaceWildenstein’s seventh exhibition devoted to Picasso. Due to security requirements and the number of paintings we will have on loan from museums, we must request that all groups make advance reservations to view the exhibition. Group tours will be scheduled on Mondays.
Please contact the Public Relations Department at 212-421-8987 to schedule a date and time for your group visit. We anticipate a large number of group requests so please book your tour early.
PaceWildenstein announces the first exhibition ever devoted to the role of early film in the development of Cubism. Picasso, Braque, and Early Film in Cubism, on view from April 20 through June 23, 2007 at
Nineteen paintings by Picasso and Braque will be on view as well as nine original works on paper, sixteen prints, two books, photographs, projections of early films, vintage cameras, projectors, and other objectsthat made up the visual milieu surrounding the two artists as they followed films in the years before and during their Cubist adventure. Some of the paintings on view are Picasso’s Female Nude, 1910 loaned from the Philadelphia Museum of Art; Braque’s Mandora, 1909-1910 from the Tate Modern,
Picasso, Braque, and Early Film in Cubism maintains that early film played a catalytic role in the development of Cubism, but as an added layer of reference that does not displace the canonical descriptions and analysis. There is biographical evidence that Picasso was an early cinephile–Picasso first saw a film in 1896 in
It is difficult to imagine the sensation the moving picture evoked in the first decade of the 20th century–it captured reality: “the movement that is life.” Just as photography had been a challenge and opportunity for artists in the 19th century, moving pictures were the new challenge of the 20th century. By the time Picasso painted his breakout canvas, Les Demoiselles d’Avignon (1907), film was an important entertainment medium, declared part of the French cultural patrimony. In the next three years, the invention that had begun as a diversion in street fairs, vaudeville, and the café-concerts had taken over the vaudeville theatres and expanded into purpose-built theatres that were attended by people of all classes. With the proliferation of thecinématographe the stage was set for a whole new perceptual structure in the traditional visual arts.
Picasso, Braque, and Early Film in Cubism has been made possible with the help of generous loans from numerous private collections and public institutions, including the Albright-Knox Art Gallery, Buffalo; Allen Memorial Art Museum, Oberlin College, Ohio; Art Institute of Chicago; The Beyeler Foundation, Basel; British Film Institute, London; Centre Georges Pompidou; Charles Edison Fund, New Jersey; Cinémathèque Française, Paris; Filmoteca Española, Madrid; George Eastman House, New York; Honolulu Academy of Arts; Kunstsammlung Nordrhein-Westfalen, Germany; Library of Congress, Washington, DC; Menil Collection, Houston; Metropolitan Museum of Art; Moderna Museet, Stockholm; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Solomon R. Guggenheim Museum, New York; Tate Britain; The Museum of Modern Art, New York; Museum of the Moving Image, New York; Wright Museum of Art, Beloit College, Wisconsin; and Yale University Art Gallery.
Other exhibitions of Pablo Picasso’s work at PaceWildenstein have included Pablo Picasso: The Avignon Paintings (1981); Pablo Picasso: The Sculpture of Picasso(1982); Pablo Picasso: Je suis le cahier: The Sketchbooks of Picasso (1986); Pablo Picasso: Picasso and Drawing (1995); Pablo Picasso: Works from the Estate and Selected Loans (1998); and Picasso in Miniature (2001).