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Pablo Picasso

The Sculptures of Pablo Picasso

April 3–May 3, 2003
980 Madison Avenue, New York

Pablo Picasso, The Pregnant Woman, 1948–50 Plaster with a metal armature, wood (for the arms), large vessel (for the stomach), two pottery jars (for the breasts), 43 1/3 × 8 2/3 × 12 ½ inches (110 × 22 × 32 cm)© ARS

Pablo Picasso, The Pregnant Woman, 1948–50

Plaster with a metal armature, wood (for the arms), large vessel (for the stomach), two pottery jars (for the breasts), 43 1/3 × 8 2/3 × 12 ½ inches (110 × 22 × 32 cm)
© ARS

Pablo Picasso, Head, 1928 Brass and iron, painted, 7 × 4 1/3 × 3 inches (18 × 11 × 7.5 cm)© ARS

Pablo Picasso, Head, 1928

Brass and iron, painted, 7 × 4 1/3 × 3 inches (18 × 11 × 7.5 cm)
© ARS

Pablo Picasso, Head of a Woman (Tête de femme: Marie-Thérèse Walter), 1931–32 (cast 1973) Bronze, 34 × 14 ⅜ × 19 ¼ inches (86.4 × 36.5 × 48.9 cm)© Estate of Pablo Picasso/Artists Rights Society (ARS), New York

Pablo Picasso, Head of a Woman (Tête de femme: Marie-Thérèse Walter), 1931–32 (cast 1973)

Bronze, 34 × 14 ⅜ × 19 ¼ inches (86.4 × 36.5 × 48.9 cm)
© Estate of Pablo Picasso/Artists Rights Society (ARS), New York

About

Gagosian is honored to present, with the generous support of the Picasso family and other important lenders, a comprehensive exhibition of sculpture by Pablo Picasso.

The Sculptures of Pablo Picasso traces a path from the artist’s early bronzes to monumental heads and carved wood figures from the Boisgeloup period as well as constructions that incorporate diverse media and objets-trouvés. Also included are works from the ’30s, ’40s, and ’50s executed in clay, bronze, iron, plaster, and wood, as well as signature painted metal cutouts from the late period.

This exhibition incorporates such iconic and celebrated sculptures as Head of a Woman (Fernande) (1909), Glass of Absinth (1914), Study for Monument to Guillaume Apollinaire (1928), Head of a Woman (Boisgeloup) (1930), Still Life with Glass (1938), Head of a Bull (1950), and Pregnant Woman (1950), as well as other rarely seen works.

A fully illustrated catalogue edited by and with an introduction by Diana Widmaier Picasso will accompany the exhibition. The catalogue will include an essay by Robert Rosenblum.

A Foreigner Called Picasso

Behind the Art
A Foreigner Called Picasso

Join president of the Picasso Museum, Paris, Cécile Debray; curator, writer, biographer, and historian Annie Cohen-Solal; art historian Vérane Tasseau; and Gagosian director Serena Cattaneo Adorno as they discuss A Foreigner Called Picasso. Organized in association with the Musée national Picasso–Paris and the Palais de la Porte Dorée–Musée national de l’histoire de l’immigration, Paris, the exhibition reframes our perception of Picasso and focuses on his status as a permanent foreigner in France.

Dora Maar, Portrait de Picasso, Paris, studio du 29, rue d’Astorg, winter 1935–36

A Foreigner Called Picasso

Cocurator of the exhibition A Foreigner Called Picasso, at Gagosian, New York, Annie Cohen-Solal writes about the genesis of the project, her commitment to the figure of the outsider, and Picasso’s enduring relevance to matters geopolitical and sociological.

Black and white image of  Pieter Mulier. Photo: © Paolo Roversi, courtesy Alaïa

Fashion and Art: Pieter Mulier

Pieter Mulier, creative director of Alaïa, presented his second collection for the legendary house in Paris in January 2022. After the presentation, Mulier spoke with Derek Blasberg about the show’s inspirations, including a series of ceramics by Pablo Picasso, and about his profound reverence for the intimacy and artistry of the atelier.

Portrait of Sir John Richardson, New York, 2005. Photo: Janette Beckman/Getty Images

The Art of Biography: Sir John Richardson’s “The Minotaur Years”

Pepe Karmel celebrates the release of A Life of Picasso IV: The Minotaur Years, 1933–1943, the final installment of Sir John Richardson’s magisterial biography.

A black-and-white portrait of Daniel-Henry Kahnweiler seated at a desk in front of a painting by Pablo Picasso.

Game Changer
Daniel-Henry Kahnweiler

Michael Cary pays homage to the visionary dealer Daniel-Henry Kahnweiler (1884–1979).

Grace McCann Morley, c. 1950s.

Game Changer
Grace McCann Morley

Berit Potter pays homage to the ardent museum leader who transformed San Francisco’s relationship to modern art.