{"id":12663,"date":"2024-07-23T15:42:45","date_gmt":"2024-07-23T13:42:45","guid":{"rendered":"https:\/\/www.marsilioarte.it\/?post_type=magazine&p=12663"},"modified":"2024-09-02T11:42:24","modified_gmt":"2024-09-02T09:42:24","slug":"picasso-france-exhibition-milan","status":"publish","type":"magazine","link":"https:\/\/www.marsilioarte.it\/en\/magazine\/picasso-france-exhibition-milan\/","title":{"rendered":"The whole story of the turbulent connection between Picasso and France"},"content":{"rendered":"When Pablo Picasso died in Mougins, Provence, on 8 April 1973, a flood of praise poured out for him and his art. France, the country in which Picasso had lived for almost seventy years, made solemn decisions regarding his legacy. Having the possibility to pay off inheritance taxes through the sale of works of art, the French state and the artist\u2019s family agreed to take from the master’s immense legacy a selection of 200 paintings, 150 sculptures, 3,000 drawings, 88 ceramics and more, and allocate all this to a national museum named after Pablo Picasso, which opened its doors in Paris on 28 September 1985.
\r\n
\r\nThe historian Annie Cohen-Solal wanted to re-examine this \u201cgreat love\u201d France had for Pablo Picasso by thoroughly scrutinizing the archival documents and arrived at unexpected and in some respects disconcerting conclusions. Contrary to what is commonly believed, France repeatedly demonstrated sincere and open hostility towards this \u201cSpanish\u201d artist, defined as a \u201cforeigner\u201d, \u201canarchist\u201d and, moreover, an exponent of an \u201cincomprehensible art\u201d.
\r\nPICASSO IN FRANCE<\/h2>
\r\nIn 1901 Pablo Ruiz Picasso \u2012 who had chosen to reside in the French capital \u2012 found himself immediately investigated by the Parisian police, who opened a file on him eloquently entitled: \u201cForeigner n\u00b0 74,664\u201d.
\r\nThe file would be updated periodically for many years, not just with the conspicuous SPANISH stamp (in capital letters) often placed on the papers, but also with judgments that denoted political distrust towards him, contempt for his art and even tones of actual xenophobia: \u201cHe did not serve in the military in our country during the conflict in 1914\u201d, he is a \u201cself-styled modern painter\u201d, he \u201cis a Soviet apologist\u201d, he is an \u201canarchist monitored by the prefecture\u201d and then \u201che speaks French very badly, as he can barely make himself understood\u201d.
\r\n
\r\nDespite these hostilities, the \u201cforeigner\u201d Picasso was producing masterpieces in France. In Paris he had painted Les Demoiselles d’Avignon<\/em> (1907). In 1929 he had offered it as a gift to the Louvre, but the museum disdainfully refused. Then came Guernica<\/em> (1937), which the artist painted overwhelmed by the horror of the Spanish civil war in a France, however, completely indifferent to that fratricidal tragedy, a precursor to the massacre of the world war.
\r\n
\r\nIn 1940 Picasso attempted to become a naturalized French citizen, but his aspiration was crushed. This was the reason given: \u201cForeigner without qualifications to obtain naturalization; however, given the foregoing, he must be considered extremely suspicious\u201d.
\r\nWorse happened, in 1942. To renew his French residency permit he was forced to declare: \u201cI, the undersigned, declare on my honour that I am not Jewish\u201d.
\r\n
\r\nThe discovery of the precariousness in which the artist lived and the obstacles he had to overcome during his life in France are the plot not just of Annie Cohen-Solal\u2019s book, Picasso. Una vita da straniero<\/em> [Picasso.<\/em> A life as a foreigner<\/em>] (Marsilio, 2024), but also of the highly original exhibition inspired by it, again curated by Annie Cohen-Solal together with C\u00e9cile Debray, and staged from 20 September 2024 to 2 February 2025 at the Palazzo Reale in Milan. Entitled Picasso lo straniero<\/em> [Picasso the foreigner<\/em>], the exhibition is sponsored by the Municipality of Milan \u2012 Culture, produced by Palazzo Reale with Marsilio Arte and created thanks to the collaboration of the Mus\u00e9e National Picasso in Paris, the Palais de la Porte Dor\u00e9e and the Mus\u00e9e National de l’Histoire de l\u2019Immigration.
\r\nTHE EXHIBITION IN MILAN<\/h2>
\r\nPicasso lo straniero<\/em> presents around eighty works by the artist, as well as documents, photographs, letters and videos from the Picasso Museum in Paris and the Mus\u00e9e National de l\u2019Histoire de l\u2019Immigration in Paris. An aesthetic and historical journey that invites us to reflect on the issues of immigration and reception, having as its linchpin the figure and work of Pablo Picasso who, despite France having become his home and his fame having brought prestige to the nation, would never obtain French citizenship. Belatedly (1958), they did in fact offer it to him. But by that point he was the one who didn\u2019t want it anymore.
\r\n
\r\nMarco Carminati<\/strong>","protected":false},"featured_media":12687,"template":"","meta":{"inline_featured_image":false,"footnotes":""},"categorie_magazine":[343],"class_list":["post-12663","magazine","type-magazine","status-publish","has-post-thumbnail","hentry","categorie_magazine-words-from-marte"],"acf":[],"yoast_head":"\nThe whole story of the turbulent connection between Picasso and France - Marsilio Arte<\/title>\n<meta name=\"description\" content=\"The journalist and author Marco Carminati recounts the details of a story that mixes art, history and politics\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.marsilioarte.it\/en\/magazine\/picasso-france-exhibition-milan\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The whole story of the turbulent connection between Picasso and France\" \/>\n<meta property=\"og:description\" content=\"The journalist and author Marco Carminati recounts the details of a story that mixes art, history and politics\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.marsilioarte.it\/en\/magazine\/picasso-france-exhibition-milan\/\" \/>\n<meta property=\"og:site_name\" content=\"Marsilio Arte\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/MarsilioArte\" \/>\n<meta property=\"article:modified_time\" content=\"2024-09-02T09:42:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.marsilioarte.it\/wp-content\/uploads\/2024\/07\/dormeuse_dida-verticale_ENG-1024x512.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"512\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@MarsilioArte\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.marsilioarte.it\/en\/magazine\/picasso-france-exhibition-milan\/\",\"url\":\"https:\/\/www.marsilioarte.it\/en\/magazine\/picasso-france-exhibition-milan\/\",\"name\":\"The whole story of the turbulent connection between Picasso and France - 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