{"id":8444,"date":"2023-12-18T13:28:06","date_gmt":"2023-12-18T12:28:06","guid":{"rendered":"https:\/\/www.marsilioarte.it\/mostre-ed-eventi\/picasso-lo-straniero\/"},"modified":"2025-07-14T16:33:51","modified_gmt":"2025-07-14T14:33:51","slug":"picasso-lo-straniero-milano-palazzo-reale","status":"publish","type":"mostre-ed-eventi","link":"https:\/\/www.marsilioarte.it\/en\/events-and-exhibitions\/picasso-lo-straniero-milano-palazzo-reale\/","title":{"rendered":"Picasso the Foreigner"},"content":{"rendered":"<h4><strong>Discover the exhibition journey<\/strong><\/h4><br \/>\r\n<div id=\"accordion\"><br \/>\r\n<div class=\"card\"><br \/>\r\n<div id=\"headingOne\" class=\"\"><br \/>\r\n<h5 class=\"mb-0\"><button class=\"btn btn-link\" style=\"text-wrap: wrap;\" data-toggle=\"collapse\" data-target=\"#collapseOne\" aria-expanded=\"true\" aria-controls=\"collapseOne\">1900 \u2013 1906. AN \u201cANARCHIST UNDER SURVEILLANCE\u201d IN THE PARISIAN LABYRINTH<\/button><\/h5><br \/>\r\n<\/div><br \/>\r\n<div id=\"collapseOne\" class=\"collapse show\" aria-labelledby=\"headingOne\" data-parent=\"#accordion\"><br \/>\r\n<div class=\"card-body\">Picasso, the young Spanish painter, arrives in Paris for the 1900 Universal Exposition, where one of his works is presented. As revealed by his landscapes of Malaga, La Coru\u00f1a, Madrid, and Barcelona, where he lived, he is immersed in plural Spanish cultures \u2013Andalusian, Galician, Castilian and Catalan. For him, the French capital seems an opaque labyrinth of which he knows neither the language nor the codes.<br \/>\r\nBy dint of perseverance, at the end of four successive trips in four years, and supported by Catalan friends, he finally finds his way into the metropolis that fascinates him. There he builds a network of friends as marginal as he. His work depicts the underworld of Paris : disoriented blind men, isolated and downtrodden women, lost absinthe drinkers, hatted prostitutes, before fixating on the circus world and a cohort of sad, tired, melancholic, and pale travelers.<\/div><br \/>\r\n<\/div><br \/>\r\n<\/div><br \/>\r\n<div class=\"card\"><br \/>\r\n<div id=\"headingTwo\" class=\"\"><br \/>\r\n<h5 class=\"mb-0\"><button class=\"btn btn-link collapsed\" style=\"text-wrap: wrap;\" data-toggle=\"collapse\" data-target=\"#collapseTwo\" aria-expanded=\"false\" aria-controls=\"collapseTwo\">1906 \u2013 1914. HEADING THE AVANT-GARDE!<\/button><\/h5><br \/>\r\n<\/div><br \/>\r\n<div id=\"collapseTwo\" class=\"collapse\" aria-labelledby=\"headingTwo\" data-parent=\"#accordion\"><br \/>\r\n<div class=\"card-body\">Picasso continues to build his network : he joins expatriate circles, that of Leo and Gertrude Stein, then Wilhelm Uhde and Daniel-Henry Kahnweiler after 1907. In his small gallery on the rue Vignon, Kahnweiler develops a very elaborate sales method; he finds a public for Cubism in the monarchies of Eastern Europe as well as in the United States. Artists, critics, and collectors (mostly foreign) flock to Picasso\u2019s studio, trying to understand this new aesthetic that questions traditional figurative representation.<br \/>\r\nIn December 1912, at the National Assembly, some deputies attack cubist \u201cgarbage.\u201d The critic Louis Vauxcelles deplores, that for him, \u201cthere are a few too many Germans and Spaniards in the Fauve and Cubist affairs [&#8230;] and that the merchant Kahnweiler is not precisely a compatriot of [Van Gogh\u2019s French gallerist] Father Tanguy.\u201d<\/div><br \/>\r\n<\/div><br \/>\r\n<\/div><br \/>\r\n<div class=\"card\"><br \/>\r\n<div id=\"headingThree\" class=\"\"><br \/>\r\n<h5 class=\"mb-0\"><button class=\"btn btn-link collapsed\" style=\"text-wrap: wrap;\" data-toggle=\"collapse\" data-target=\"#collapseThree\" aria-expanded=\"false\" aria-controls=\"collapseThree\">1917 \u2013 1939. AN ARTIST BESIDE HIMSELF<\/button><\/h5><br \/>\r\n<\/div><br \/>\r\n<div id=\"collapseThree\" class=\"collapse\" aria-labelledby=\"headingThree\" data-parent=\"#accordion\"><br \/>\r\n<div class=\"card-body\">How to understand Picasso\u2019s aesthetic evolution during the interwar period? Plural, elusive, multiple, contradictory, his art disconcerts more than one critic. He appears successively as neo-cubist, classical, surrealist, figurative, and political.<br \/>\r\nPicasso\u2019s precariousness as a foreigner in a period marked by waves of xenophobia forces him to find other circles of relations, after having lost friends, dealers, and collectors in the disasters of the First World War. With the Ballets Russes, the French aristocracy, the new surrealist generation, and the Spanish Republicans, he undesrtakes a strategic decentering. Across the Atlantic, he is drawn towards new hubs that celebrate him, such as New York\u2019s MoMA, directed by Alfred H. Barr, Jr. From then on, so many territories, so many alliances that underlie the profusion of the Picassian \u0153uvre.<\/div><br \/>\r\n<\/div><br \/>\r\n<\/div><br \/>\r\n<div class=\"card\"><br \/>\r\n<div id=\"headingFour\" class=\"\"><br \/>\r\n<h5 class=\"mb-0\"><button class=\"btn btn-link collapsed\" style=\"text-wrap: wrap;\" data-toggle=\"collapse\" data-target=\"#collapseFour\" aria-expanded=\"false\" aria-controls=\"collapseFour\">1939 \u2013 1944. \u201cFRANCE FOR THE FRENCH!\u201d<\/button><\/h5><br \/>\r\n<\/div><br \/>\r\n<div id=\"collapseFour\" class=\"collapse\" aria-labelledby=\"headingFour\" data-parent=\"#accordion\"><br \/>\r\n<div class=\"card-body\">During the Phony War, from September 2, 1939 to August 24, 1940, accompanied by Sabart\u00e9s, Picasso withdraws to Royan. \u201cDear Sir, Please come to my office as soon as possible,\u201d the local police commissioner notifies him on September 7, 1939. This warning shot addressed to him, and to all foreigners, announces the imminent danger: he is closely monitored and cannot travel without a safe-conduct pass. From now on, Guernica, the banner of resistance to all fascisms that circulates since 1937 in museums of the Western World, puts him at risk.<br \/>\r\nBetween Royan and Paris, he tries to work, despite the seriousness of the personal threats he receives as a Spanish republican, as a \u201cdegenerate artist\u201d according to the Munich Exposition of 1937, and as foreigner in a country soon to be occupied by the Nazis. In this threatening moment, on April 3, 1940, Picasso applies for French naturalization.<\/div><br \/>\r\n<\/div><br \/>\r\n<\/div><br \/>\r\n<div class=\"card\"><br \/>\r\n<div id=\"headingFive\" class=\"\"><br \/>\r\n<h5 class=\"mb-0\"><button class=\"btn btn-link collapsed\" style=\"text-wrap: wrap;\" data-toggle=\"collapse\" data-target=\"#collapseFive\" aria-expanded=\"false\" aria-controls=\"collapseFive\">1944 \u2013 1973. RIDING THE WAVE OF THE THIRTY GLORIOUS YEARS<\/button><\/h5><br \/>\r\n<\/div><br \/>\r\n<div id=\"collapseFive\" class=\"collapse\" aria-labelledby=\"headingFive\" data-parent=\"#accordion\"><br \/>\r\n<div class=\"card-body\">After the war, Picasso starts building his myth. In 1948, following his generous donation of ten paintings to French public collections, the Paris Prefect grants him the status of \u201cprivileged resident,\u201d a title renewable every ten years. One by one, French museums begin to celebrate him: the Museum of Fine Arts of Lyon (1954); the Museum of the Decorative arts of Paris (1955); and the Grand Palais, the Petit Palais and the National Library of France that jointly organize a sumptuous \u201cTribute to Picasso\u201d in 1966. But in 1955, Picasso left Paris for the South of France, never to return. Living in Antibes, Golfe- Juan, Cannes, Vauvenargues, and Mougins, in a very centralized country, Picasso once again decides to go against the current, choosing the South against the North, the craftsmen against the Beaux-Arts, the region against the capital.<\/div><br \/>\r\n<\/div><br \/>\r\n<\/div><br \/>\r\n<\/div>","protected":false},"featured_media":9722,"template":"single-mostre-ed-eventi-plus.php","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-8444","mostre-ed-eventi","type-mostre-ed-eventi","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Picasso the Foreigner - Marsilio Arte<\/title>\n<meta name=\"description\" content=\"La mostra &quot;Picasso lo straniero&quot; dal 20 settembre a Palazzo Reale di Milano\" \/>\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\/events-and-exhibitions\/picasso-lo-straniero-milano-palazzo-reale\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Picasso the Foreigner - 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