Izložba „Pikaso – izbor dela iz Vollard Suite“ moći će da se pogleda u galeriji Kuće legata (Knez Mihailova 46) od 19. januara do 5. aprila.
Nakon uspešne prošlogodišnje izložbe dela Salvadora Dalija, slovenačka Galerija „Kos“, u saradnji sa beogradskom Kućom legata publici će predstaviti Pikasovu izložbu koja će obuhvatiti čak 84 dela iz čuvenog „Vollard Suite“ ciklusa.
Ovaj ciklus sadrži radove nastale u periodu između 1930. i 1937. godine po narudžbini pariskog trgovca umetninama Ambroaza Volara (1866-1939).
Cena ulaznice za odrasle je 500 RSD, dok je za učenike i studente, uz đačku knjižicu odnosno indeks, cena 250 RSD.
The Vollard Suite comprises 100 etchings produced by Picasso between 1930 and 1937, at a critical juncture in Picasso’s career. This exhibition celebrates the recent acquisition of these etchings, thanks to the extraordinary generosity of Hamish Parker.
The prints were made when Picasso was involved in a passionate affair with his muse and model, Marie-Thérèse Walter, whose classical features are a recurrent presence in the series. They offer an ongoing process of change and metamorphosis that eludes any final resolution. Picasso gave no order to the plates nor did he assign any titles to them. Picasso kept the plates open-ended to allow connections to be freely made among them, yet certain thematic groupings can also be identified.
The predominant theme of the Vollard Suite is the Sculptor’s Studio (46 etchings), which deals with Picasso’s engagement with classical sculpture. At this point he was making sculpture at his new home and studio, the Château de Boisgeloup outside Paris. The etchings of his young model, Marie-Thérèse, represent a dialogue alternating between the artist and his creation and between the artist and his model. Various scenarios are played out between the sculptor, the model and the created work. Among them is the classical myth of Pygmalion in which the sculptor becomes so enamoured of his creation that it comes to life at the artist’s touch. Classical linearity and repose within the studio also alternate with darker, violent forces. The latter are represented by scenes of brutal passion and by the Minotaur (15 etchings), the half-man, half-animal of classical myth, which became central to Picasso’s personal mythology. Picasso in a spirit of competitiveness tips his cap to his great predecessors, Rembrandt and Goya. The series concludes with three portraits of Vollard himself, made in 1937.