Picasso and Braque: The Cubist Experiment, 1910–12 September 17, 2011 – January 8, 2012
The Santa Barbara Museum of Art and the Kimbell Art Museum, Fort Worth are co-organizers of this intimately scaled exhibition, featuring approximately 15 paintings and 25 prints conceived by Georges Braque and Pablo Picasso during one of the most prolific and intensely experimental exchanges in the history of art.
Curated by SBMA Chief Curator, Eik Kahng, this presentation is the first to dwell on a selection of the paintings, as well as nearly all of the prints produced during these two critical years, to demonstrate the visual point and counterpoint that fed into the invention of the revolutionary art form now known as Analytic Cubism. A central theme of the show is the role of format and its representational consequences in the Cubist experiment.
The exhibition is accompanied by a scholarly catalogue that features essays by prominent specialists, and includes breathtaking illustrations, generated through the new technology of spectral imaging to produce reproductions of extraordinary fidelity in terms of both texture and color.
This exhibition is organized by the Santa Barbara Museum of Art and the Kimbell Art Museum, Fort Worth. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, as well as the generous support of the Santa Barbara Museum of Art Women's Board, Mildred and Charles Bloom Fund, Willfong Family Trust, Michael Armand Hammer, Dody Waugh, SBMA Dead Artists Society, Jane and Ken Anderson, Ceil Pulitzer, Marianne and Norman F. Sprague III, M.D., and Charlene and Tom Marsh.
To view the full Press Release, click here.
For more information on the new iCubist iPad App, click here.
For more information on the spectral imaging used for this exhibition, click here
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The Different Facets of Analytic Cubism Keynote speaker: Lisa Florman, Associate Professor of Art History, Ohio State University
Lisa Florman's keynote address will explore the ins and outs of Analytic Cubism. Rather than offering her own, new interpretation of the movement, she will attempt instead to provide both a context for the symposium to follow and several different frameworks for making sense of the art presented in Picasso and Braque: The Cubist Experiment, 1910-1912. Intended to be at once historical and itself appropriately analytic, her talk will begin by examining the explanations of Cubism ventured by the artists' contemporaries, and then turn to discuss the major theoretical and critical accounts that have been put forth since, before concluding with a few observations regarding the essays written specifically for the exhibition catalogue.
Un-Self-Contained Charles Palermo, Associate Professor of Art History, College of William and Mary
Gertrude Stein said that what Picasso was "bringing out of himself ... was coming to be ... a complete thing." This work, this "working" was not–was never–complete. Palermo has argued that this incompleteness is a feature of Picasso's reaction to the work of Paul Cézanne and a theme of his cubism, which proceeded from that reaction. It is deeply a part of his affinity with Gertrude Stein and with her work, too, and as her judgment on him evidences. This lecture will also show that a sense of incompleteness–by which both works of art and people are robbed of their autonomy–is fundamental to his art and can be seen in his Blue and Rose Period work and in that of his close associate Guillaume Apollinaire.
Picasso's Still Life with a Bunch of Keys Annie Bourneuf, Assistant Professor of Art History, Theory and Criticism, School of the Art Institute of Chicago
In 1912, Picasso planned to ask a professional visiting-card engraver to inscribe a few words on a plate that Picasso had etched, to add the lettering to a visiting card in his Still Life with Bunch of Keys. But Picasso's plan of hiring an artisan to work on his plate was never carried out. This lecture explores what this strange etching, including this unfulfilled idea for its completion, reveals about Picasso's engagement with printmaking during the Cubist years.
Vision and Touch in Early Cubism Christine Poggi, Professor of Art History, University of Pennsylvania
Writing in 1912, the poet André Salmon characterized Picasso and Braque as "seekers, anxious to make us submit to all the edges of the prism at once, confusing touch and sight, which are the purveyors of such entirely separate joys." This talk will examine the ways in which cues to visual and tactile experience are deliberately "confused" in Cubist painting of 1910-1912, with often surprising or humorous results.
Picasso and Braque's Cubist Experiment: "Like mountain climbers roped together"? Claire Barry, Chief Conservator, Kimbell Art Museum and Bart Devolder, Associate Conservator of Paintings, Kimbell Art Museum
This two-part lecture will discuss Picasso and Braque's artistic intentions in their Cubist paintings, with special emphasis on issues of surface, format and framing, as well as the artists' painting materials and creative process in greater depth, including a step by step look at the construction of a Cubist painting.
Q&A featuring Lisa Florman, Laurie Monahan, Charles Palermo, Annie Bourneuf, Christine Poggi, Claire Barry and Bart Devolder.