paris apartments furnished and vacation rentals for holidays in paris

Picasso in Venice and in Vienna

“Picasso, joy in life”, Palazzo Grassi, Campo San Samuele 3231, 34124 Venice. Tel.: (39) (0) 41-523-16-80. Until March 11, 2007.
“Picasso, to paint against time”, Albertina Museum, Albertinaplatz 1, A-1010 Vienna. Tel.: (43) (0) 15-34-830. Until January 7, 2007.

Picasso loved the women. Two exhibitions, one in Venice, the other in Vienna, cumulating nearly five hundred works.
Still Picasso? Yes, but in addition to one does not weary oneself any, the two fixings are very targeted. That of Venice, in Palazzo Grassi, is organized by Jean-Louis Andral, the conservative of the Museum of Antibes. It treats period which Picasso spent over there, of 1945 to 1948, and the title of a table carried out begins again then, the Joy in life. That of Vienna is due to Werner Spies, who knew to him also Picasso. First exhibition devoted to the painter in Austria, it is entirely dedicated to the very last period, since its installation with Mougins in 1961 until its death, in 1973. One could subtitle it “Our-Lady-of-Life”, of the name of his villa, so much the urgency of his end makes the artist exuberant.
Picasso is thus made that the mate, that it hates, must be fought by painting. Death however moves away in France released from 1944, date on which Picasso adheres to the Communist Party. But not for him, which paints Massacre, almost during in Guernica, renamed since the Mass grave. Not for its compatriots, T it thinks, which far from being released undergo the yoke of Francoism. Not for the Third World, where, both in Korea and in the colonies, violences multiply. And then, it largely exceeded about sixty…
When he meets Francoise Gilot. She is 21 years old. With it, it escapes from Gulf-Juan. It is on the beach that finds them Michel Sima, a young sculptor and photographer, carrying a proposal: the conservative of the Museum of Antibes would like to meet them. He has name Romuald Dor of Souchère, hopes for well a small donation for his museum, and has a flash of genius: on August 8, 1946, it proposes in Picasso, broken down workshop in the South, to lend its buildings to him. “It is thus, wrote it, which Picasso was seized by the castle of Antibes, like Mr. Trouhadec by the vice!”
In a few months, faunas horned and jokers, the satyrs, the nymphs return in the tables. The Joy in life is a quiet orgy, the evocation of Arcadie happy, where a dancer with the sumptuous chest celebrates one does not know which spring. Picasso painted in the urgency. In the fate testifies to the unhappy Vandenberg general, whose portrait, works of a painter now forgotten, who trailed in the reserves, was covered by an Eater with sea urchins. At the same time, it discovers ceramics with Vallauris, of seizes, of plays with a confusing speed, finds the gestures and the inventiveness of the ancient potters, then exceeds them.
This ode with youth returns then punctually in its work. One made him the public reproach in 1953 of it, when in “one” of the communist newspaper the French Letters a portrait of Stalin appears that Picasso wanted youthful. Aragon, drowned under the protests, will make its self-criticism. Picasso does not appreciate, as it entrusted to Pierre Daix: “I thought of a very naked hero… Yes, but and its virility? You make him a Greek zizi, one is annoyed: “That, for the father of the people? Thus let us go! If small!” Then you treats it with the attributes of Minotaure: “But see it to you in obsessed, as a satyr! Hide that, it is me feeling reluctant!” And if you calculate the happy medium, like you and me, what you take! Say to me, socialist realism, it should be Stalin who bandages, not? Then there, you hear them howl: “But camarade, what you make morals and decency Communists! You saw people embracing themselves in a Soviet painting”?”
At 70, Picasso meets new a MUSE, Jacqueline Roque. And it set out again, as the exposure of Vienna shows it. This one rests on an injustice, which Werner Spies wished to repair. The Picasso last were indeed qualified by Douglas Cooper, which was however his friend, of “incoherent smearings of an old man obsessed in the anteroom of death”. In addition to the precision of the feature of its drawings and engravings exposed in Vienna makes part of the charge of smearing, Spies holds on the contrary the tables of obsessed for a manifestation of the life. Admittedly, they are dispatched hardly. But Picasso himself had said what it thought. In Pierre Daix, always: “They would always like that you them books a painting out of evening dress. Drill plate, tie, and all and all. Why not the Legion of honor?” The “legion of honor”, smiles a specialist in work, “thus Picasso indicated the asshole”.  And it is true that into some features, the anus is transformed into rivet washer. That an end of folded paperboard, then entrusted to a sheet-iron merchant, becomes sculpture. That the Crommelynck husbands spend their nights in their kitchen to take the prints from engravings that Picasso incised in the course of the day. That the formats of the tables increase, as painting is released, that the joy always remains. Admittedly, Picasso dies, like everyone. But he died upright.

H a r r y   B e l l e

event of the month in Paris Internet cable unlimited high speed connection mapMap of the Metro- Parisian SubwayWeather and Temperature in Paris10 excellent reasons to discover le Marais in your lifeguide of saint-germain des presGetting to paris from the aiport roissy charles de gaulle