Morton Dauwen Zabel, “An American Gallery of Modern Painting,” Art and Archaeology 26, 6 (Dec.Christian Zervos, “Picasso: Œuvres Inédites Anciennes,” Cahiers d’Art 3, 5–6 (1928), p.Forbes Watson, “A Note on the Birch-Bartlett Collection,” Arts 9 (June 1926), pp.F., “Helen Birch-Bartlett Memorial Collection Now Installed,” Art News 24, 31 (May 8, 1926), p. F., “Cézanne, Rousseau, Picasso,” Bulletin of the Art Institute of Chicago 20, 5 (May 1926), p. 12, 96 (ill.), as The Guitarist-Blue Period. John Quinn, John Quinn, 1870–1925: Collection of Paintings, Watercolors, Drawings, and Sculpture (Pidgeon Hill Press, 1926), pp.Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Art Institute of Chicago, 1926), pp.Art Institute of Chicago, Annual Report 48 (1926), p. ![]() “What is Happening in the World of Art,” Sun, Mar.Bryant, Third Exhibition of Contemporary French Art (Carroll Galleries, 1915), n.pag., cat. Henri Guilbeaux, “Exposition Pablo Picasso (Vollard, rue Laffitte),” Les Hommes du Jour 3, 155 (Jan.Status On View, Gallery 391 Department Modern Art Artist Pablo Picasso Title The Old Guitarist Place Spain (Artist's nationality) Date 1903–1904 Medium Oil on panel Inscriptions signed, l.r.: "Picasso" Dimensions 122.9 × 82.6 cm (48 3/8 × 32 1/2 in.) Credit Line Helen Birch Bartlett Memorial Collection Reference Number 1926.253 Copyright © 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Extended information about this artwork The image reflects the twenty-two-year-old Picasso’s personal struggle and sympathy for the plight of the downtrodden he knew what it was like to be poor, having been nearly penniless during all of 1902. The elongated, angular figure of the blind musician also relates to Picasso’s interest in Spanish art and, in particular, the great 16th-century artist El Greco. In the paintings of his Blue Period (1901-04), the artist restricted himself to a cold, monochromatic blue palette, flattened forms, and emotional, psychological themes of human misery and alienation related to the work of such artists as Edvard Munch and Paul Gauguin. However, the photographer Brassaï cattily remarked that nobody ever saw Picasso with a book in his hands.Pablo Picasso made The Old Guitarist while working in Barcelona. Picasso associated with many literary figures in Paris including Guillaume Apollinaire and Gertrude Stein. Picasso's prose poem The Burial of the Count of Orgaz explores his homeland of Andalucia in a stream-of-consciousness style, and includes characters such as ‘Don Bloodsausage'. The Guggenheim restaged this in 1988, starring artist David Hockney. Desire Caught by the Tail was first performed as a reading, featuring philosophers Jean-Paul Sartre and Simone de Beauvoir, Picasso himself, and with writer Albert Camus directing. He was also the author of two surrealist plays. He collaborated with artist and author Jean Cocteau, composer Erik Satie and Ballet Russes founder Sergei Diaghilev on the ballet Parade. The disused stable became a dedicated sculpture studio where he also experimented with printmaking. Away from the distractions of city life, it became the ideal place for him to pursue his sculpture work with a new energy. In 1930, he acquired a house in Boisgeloup, forty miles outside of Paris. Picasso was a committed sculptor throughout his career, though for a long time this side of his art was not widely known. The exhibition was much more popular with the public, but was nonetheless a commercial failure, with no sales in Paris and only one in Zürich. He published a scathing review of the exhibition, implying that Picasso was schizophrenic because his ‘pictures immediately reveal their alienation from feeling’. In September, the retrospective travelled to the Kunsthaus Zürich, where it was seen by the psychoanalyst Carl Gustav Jung. Yet pride of place was given to a group of paintings that celebrated Picasso’s family, including portraits of his wife and son. The frequent appearance of Marie-Thérèse Walter’s features in his more recent paintings provided the first public clue that a new woman had entered the artist’s life. He selected works from throughout his career, not displaying any dates and not hanging them in a chronological order, as if to say that all his works were of equal importance and value. ![]() Picasso personally arranged the art in the gallery, even contributing his own pot plant to the display. Matisse had exhibited there the year before, and Picasso was keen to do better than his hero and rival. In 1932, Picasso staged the first solo show looking back over his career at the Galeries Georges Petit in Paris. ![]() Retrospective exhibitions of living artists were unusual in the early 1930s it was almost unheard of for an artist to curate their own.
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