Picasso and Britain: an influential relationship
He was born in Spain and from his homes in France changed the shape of modern art.
We all think we know Picasso. But a new exhibition at Tate Britain is inviting us to think again. And to re-examine his relationship with Britain.
For an artist who rarely travelled – he once famously said that he could go anywhere he wanted to in his head – this relationship is closer than many of us might expect. As curator Chris Stephens told me: “Early on Britain was supposed to have been an influence on him, growing up.
“His father was a great Anglophile and was known as El Inglés because of his passion for all things English. Picasso told his biographer Roland Penrose that he was on his way to London in 1900 when he stopped off in Paris and never carried on and finished the journey. And the reason was partly his admiration for British painting.”
The exhibition also examines the impact of Picasso’s later influence on British artists. Francis Bacon said that he was inspired to take up painting after seeing an exhibition of Picasso’s Dinard paintings – and the influence on his early work is obvious. In the 1930s, Ben Nicholson incorporated into his work the language of painting that came from Cubism. And around the same time Henry Moore was inspired by Picasso’s neo-classical work of the early 1920s.
Picasso and Modern British Art reveals little-known details of the four months Picasso spent in London in 1919 – while working on set and costume designs for the touring Ballets Russes company, many of which are included or reproduced in the show.
Although collaborating with visual artists was part of the company’s philosophy, Picasso was by far the highest profile artist to become involved. And exploring the possibilities of working in other art forms could be one of his most important, yet underappreciated, areas of influence.
Engagement in other art forms has been on the rise since Picasso’s time – and is fast becoming one of the defining characteristics of the current generations of visual artists: Steve McQueen and Sam Taylor Wood have directed feature films; David Hockney, Anish Kapoor and Mark Wallinger have designed sets for opera and ballet; And Tracey Emin and Damien Hirst have worked across several artistic disciplines.
The boundaries that used to hem in artistic practice have been steadily expanding since Picasso collaborated with the Ballets Russes. How much of this is directly down to Picasso it would be impossible to say. But the exhibition Picasso and Modern British Art does a great job of exploring his wider relationship with British artists.
It strikes a perfect balance between presenting a strong, well thought-out curatorial take – and showing off some spectacular work. And not just by Picasso.
Picasso and Modern British Art opens at Tate Britain this Wednesday and travels to the Scottish National Gallery of Modern Art in Edinburgh in August.
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There are 3 comments on this post
Thanks Matthew, I really enjoyed this piece, it’s always great to consider new angles on such a great artist as Picasso, though I’d love him just the same even if he’d never heard of Britain or dissed us big time stylie…! Funny how the artists in history maybe apply their talents across many spheres at different periods, Renaissance artists and Bauhaus among others come to my mind. Sorry I missed Carl Andre’s shoe designs though….so far anyway…
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The general acceptance of Picasso’s art dismays me. It has been said that it resembles that of some mentally unbalanced people. I can well believe it!
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Visual art, be it for emotional expression, copying, experimentation, story telling, technical prowess or, for sheer joy etc, are variety of manifestations that accord the audience stimuli of senses.
Romantic stories, fictitious labels or, glory of brilliance in a work of art, gives continuity to the ever changing needs of the recipient.
The Artist connects with his/her work from depths of thought & emotion. When that’s captured on ‘canvas’ it reveals the evolution of something dramatic that captures attention.
I sometimes wonder if we relate too much to these images as a throwback to our evolutionary shaping.
H.Lyon’s comment about Picasso’s work strikes a chord in delving into the ‘mental stability’/state of the Artist and, whether the cross over between sanity and insanity, even via mind altering substances, gives rise to something special or, not.
For me, I like to see today’s Artists creating works of aesthetic wonderment from actual skill & creativity while incorporating the essence of the Masters.
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