Peterâ€™s Basilica in the Vatican, which revealed to him the Michelangelo of the Sistine Chapel as well. He saw Raphaelâ€™s paintings in Florence and recognized Caravaggio as the master of staging. The exhibition at the Galleria Borghese will take into account his first-hand experience with Italian art to reflect again on great themes connected with painting and, especially, sculpture from the Renaissance on.
For a long time, Picassoâ€™s sculpture remained little known, even though the artist maintained a privileged relationship with this discipline. It was an essential part of his work, but he insisted on protecting it by keeping it secret. Although after the war his dealer, Daniel-Henry Kahnweiler, pub- lished a work on his sculptures illustrated with photographs by BrassaĂŻ, of bronzes, much of Picassoâ€™s sculptural work was revealed only during the retrospectives that took place in Paris, London, and New York from
1966 to 1968. Until then, numerous sculptures from his studios, span- ning his entire career and attesting an uninterrupted practice, had never been displayed publicly. The exhibitions at the Centre Pompidou in Paris in 2000 and the Museum of Modern Art in New York and the MusĂ©e na- tional Picasso-Paris in 2015-2016 reflect the fundamental role performed by Picasso in this field of artistic production.
Although most critics have recognized the influence of the great mas- ters on his painting, they have not been able to assess the impact that his familiarity with the art of the past had on his sculpture. Consequently, the visual and conceptual parallels generated by the dialogue proposed by the exhibition at the Galleria Borghese will open up new fields for reflection.
Picasso is an ingenious artist or, as understood by Plato in the Republic, a â€śsuper-craftsmanâ€ť who appropriates the past in order to modify our perception of it. His relationship with Antiquity is present throughout his work, but the Mediterranean environment in which he was immersed from 1946 on made his art more open to experimentation, to combining new materials with often ancestral methods of execution. His sculptural work during this period includes engraved stones, vases, and ceramic an- imals and mythological figures. The material, the motifs, and the move- ment of the forms or, on the contrary, their stylization are so many echoes of the masterpieces and other works in the Galleria Borgheseâ€™s collection. For example, Picassoâ€™s sculpture Woman with Child (1961) will be displayed together with Berniniâ€™s Apollo and Daphne (1622/1625).
Picasso: the Sculpture was conceived by Anna Coliva and is included in the international cultural project Picasso-MĂ©diterranĂ©e initiated by Laurent Le Bon, director of the MusĂ©e national Picasso-Paris.
Curated by Anna Coliva and Diana Widmaier-Picasso, a well-known expert on Picassoâ€™s sculpture, the exhibition is supported by Fendi.