Gagosian, 980 Madison Avenue, New York
May 3–June 22, 2019
I am perhaps a painter without style.—Pablo Picasso
Gagosian, in partnership with members of the Picasso family, is pleased to present Picasso’s Women: Fernande to Jacqueline, an exhibition of paintings and sculptures that attests to the central role and influence of the many women in Picasso’s life. It has been organized in honor of the gallery’s late friend and colleague, Sir John Richardson.
Pablo Picasso, Buste de femme (Dora Maar), 1940. Oil on canvas, 29 1/8 x 23 5/8 in, 74 x 60 cm © 2019 Estate of Pablo Picasso/Artist Rights Society (ARS), New York. Pho
In the early 1960s, Richardson was planning to write a study of Picasso’s portraits and spent hours with the artist, poring over reproductions of his works. As Picasso spoke about the complexities of his pictorial thinking—pointing out, for example, that a portrait of Dora Maar might also contain elements referring to her romantic predecessor Marie-Thérèse Walter, and her successor Françoise Gilot—Richardson began to believe that a detailed biographical treatment of Picasso’s portraiture would close a notable gap in Picasso scholarship. Decades later he would sit down to write what would become the monumental multivolume biography, A Life of Picasso.
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Maar once told Richardson that when a new woman entered Picasso’s life, everything changed: the art, the house, the poetry, even the dog. And yet, Maar’s observation is a bit misleading, for within the era of each successive muse, Picasso never settled on a singular style. Rather, in penetrating Picasso’s imagination, each woman served as a catalyst for experiments in color and form that would continue to change as the contours of the relationship shifted. It is through this process that Picasso’s work was constantly reinvented and renewed.
Picasso was as eclectic in his choice of muse as he was in style: the bohemian Fernande Olivier; disciplined Olga Khokhlova; blonde Venus Marie-Thérèse; passionate artists Dora and Françoise; Sylvette David, the young woman with a high ponytail; and Jacqueline Roque, the devoted, romantic beauty. Picasso’s portraits of these women express psychological insights, as well as the drama that only profound intimacy can reveal. He depicts each, as Leo Steinberg has argued, not how she presents herself to the world, but how she feels inside. These women invoke poetry, beauty, war, and poverty, ingeniously reflecting the spirit and reality of the changing times. Not merely mute muses, Fernande and Françoise published memoirs; Olga and Marie-Thérèse kept extensive archives of photographs and letters over decades; Dora gave interviews to researchers and documented Picasso’s work and private life in photographs. Picasso’s women are as essential to our understanding of the artist and his oeuvre as they were instrumental in his creative life.
