A look at 'Picasso in The Metropolitan Museum of Art'

with Gary Tinterow
in Art & Design
on Tuesday, July 20, 2010 * * * * *

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A look at 'Picasso in The Metropolitan Museum of Art' with Gary Tinterow, Engelhard Chairman of the Department of Nineteenth-Century, Modern, and Contemporary Art, The Metropolitan Museum of Art

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Keywords:
Met
Brauch
film
painting
New York
Metropolitan
art
modern art
Picasso
Cubism

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  • Comments 4
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    1. suecassidyclark  02/28/2012 01:35 PM Report

      This was an excellent program that I missed. Thank you for having it on line.

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    3. charlizecourriers  07/21/2010 05:03 PM Report

      The Met needs money so they trot out another tired show of tired paintings. Perhaps they can jazz up the vigorish for a few dealers. History will record PP as the greatest communist party painter of the 20th century but only when the politically correct generatiion of museo-sycophants are gone-not too long from now/ not soon enough! Sell now, you fools.

    4. REMant  07/21/2010 04:38 PM Report

      A collection without conscious direction may be better. Undoubtedly one wants to draw conclusions, else why study the work, but there's no point in being wrong, either. I think it is clear that most of Picasso's work is self-descriptive in one way or other. I'm sure he saw himself as Harlequin, tho Cezanne painted them about a decade before, and with white faces. The character was always pursuing unobtainable women, often someone else's. Single-minded, he was seen as vain with athletic abilities, characteristics I'd consider continued in the later figure of the Minotaur. I don't know that anyone confused Pierrot and Harlequin. Pierrot is naive and a cuckold. Too, a French hellequin was a dark-skinned emissary of the devil, who chased damned souls to Hell, a reasonable approximation of Picasso's moral and political disposition, tho he was not born poor. Nor was he a bad draftsmen, indeed he was a prodigy, but perhaps a poor student, which led him to have a very rocky start in life. Tho I think the observation that the focal point of all his paintings and drawings is in the center good, blindness may be a political statement. But I think largely missed is the derivative nature of his work. Nothing in it seems really novel, tho he is not alone in this, nor is art. What is interesting about the affairs, besides indicating his quest for perpetual youth, is that his women seemed unable to live without him, and two committed suicide after his death.