The word in Picasso “Lo Foreigner”. In Rome a story about the man and the artist between non -published and surprises – Rome

Roma – “It comes out and rises on irregular hours. In the evening he goes out with Mañach and returns to the late hour at night … The French speaks badly and hardly become understanding “.
It is 1901 and based on the gossip of a caretaker, commissioner Rouquier puts the first police report on a young Picasso back to Paris on 2 May of the same year at the invitation of the Catalan merchant Pere Mañach who set up an exhibition in the Ambroise Gallery Vollard. He is enough for him seven weeks to complete 64 busy paintings of traced characters that are depicted with violent colors.
But it is precisely in that France will raise him for “national myth” The Maestro Malagueño is still “the foreigner”, the victim of the police who have the habit of unleashes his spectacular Abratis to lead him to a scandalous fall in Monmartre.
“It is clear that Picasso shares the ideas of the countryman who hosts him. Consequently, it must be considered an anarchist “.
Forty years later, the artist’s condition would not have changed. “This foreigner must be considered suspicious at national level” He will write this Chevalier, a mediocre police officer Xenophobe, a follower of Pétain, a lost time painter.
Here is the “Picasso Paradox”. The great painter of the twentieth century who designed poor and acrobats, who filled his canvases from Circus, Arlecchini,, a bit wandering like he, was only viewed by the state because it is a foreigner. In reality, French citizenship Picasso only asked once. It happened in 1940 when in a Europe that is infected by Nazism, fears for his life. But the request for naturalization was rejected.
Already in 1914 the eighteenth century of its most beautiful cubist paintings was seized and then sold to an auction.
Riannoden of the threads of this story that the man binds to the artist Picasso, we meet a young man with penetrating black eyes, the laurel wreath to surround his forehead, the well -designed lips, the large curled collar. It seems to have come from a painting by Velázquez. It’s for him, theAdolescent With immense hands, the distorted nose, asymmetrical eyes, Corvini-hair, rebellious, clear colors, belonging to the world of cubism, that Annie Cohen-solal curator and author of Picasso. A life as a foreignerEnsuring the task of welcoming visitors to the Corso Museum – Museum Pole on a surprising journey in which it is the artist, Picasso, to tell himself.
The painting was painted on August 2, 1969 in southern France by an eight -year -old man, four years before his death, focusing his thoughts on his past. And as an AEDO or a singer who has been demolished to the center of a flashback, he introduces us in the path that leads to Rome, the new phase of the exhibition Picasso the foreigner. A journey of discovery through more than a hundred works, a non -published core, a section dedicated to the Roman Spring of 1917 and an in -depth analysis of ceramics as a subversive practice.

Organized by the Rome Foundation with Marsilio Arte, the exhibition, a “choral” project, opens at the Corso Museum – Museum Polo from February 27 thanks to the collaboration with the Musée National Picasso -Paris (Mnpp), the main lender, the Palais de la Porte Dorée with the Musée National de l’histoire de L’Egnaire, Museu Picasso Barcelona, ​​Musée Picasso or Antibes, Musée Magnelli – Musée de la Céramique of Vallauris and important and historic European private collections.
Third Italian stage after Palazzo Reale di Milano and Palazzo in Mantua, the exhibition, as explained by Franco Parasassi, president of the Rome Foundation, “wants to be surprised to continue the discussion about Picasso Uomo through the poetic story of his experience and a current message. We would like it to”. ”

And in fact, this “poetic story about Picasso”, as Cécile Debray, director of the Picasso Museum of Paris, convinces the exhibition. And not only because some non -free absolute values ​​are exposed to you, including “Bosco on a mountain side”An oil on canvas mounted on the table painted in 1899 and from the Picasso Museum of Barcelona E “In the restaurant” from 1900, from a private collection, and then pulls like “The Double Portrait Cocteau/Picasso” From 1962, which connects precisely with the cooperation between the two artists for the Parade Ballet, also made for the theater of the Opera di Roma, a frame of the Roman tour through the Russian ballets. But because, thanks to a good thought, chronological setting, a large audience and not necessarily allows insiders to understand the change in perspective of the young Pablo, when he left Barcelona to reach Paris, and follow the evolution of his art. The section dedicated to the Roman spring of 1917 spent by Pablo Picasso with Jean Cocteau, Erik Satie, Sergej Djaghilev and Leonid Massine.
In Rome arrives on 17 February to prepare the scenes and parade costumes together with the poet Jean Cocteau. The plot is simple: on a Parisian boulevard an acrobat, a Chinese magician and an American girl, flanked by an impressive horse, perform some numbers to attract passers -by. But the Paris from 1917, in the middle of the war, is not ready for this type of elaboration and in the chatelet theater the end of the end is released. Only apollinar, war veterans, climbing on stage in uniform, with the connected time, had succeeded in soaking a railway against the artist.

When he arrives in Rome, Picasso has already traveled a lot. Eleven years earlier, a small Pyrenaic village was reached behind a mule in Gósol, where the police did not go. Here his style changes to stylized details and archetypal figures, the same that will give life to the Heroic years of the Cubist period. His relationship with Rome, shown, is an important presence. “As a curator – Annie Cohen -S -Solal explains – I tried to leave the floor to the artist, an artist speaking through his works. And then Picasso belongs to Rome, as well as his name registered in the marble in Via Margutta, where he was the study he worked in the spring of 1917”.
Even Jasmin Blasco, the cousin of Pablo, thanked the same Rome who welcomed his grandfather in 1917, in which he met the Greek and Roman world, then remembers the curiosity of his grandfather to the Corridor, stimulated the Colosseum, and still with a time jump in the Comedine of the Comedypes of the Comedypes of the Comedypes of the Comedypen of the Comedypes of the Comedypes of the Comedypes of the Comedypes of the Comedypen of the Comedypes of the Comedypen of the Comedypen of the Comedypes of the Comedypen of the Comedypen of the Comedypen of the Comedypen of the Comedypen of the Comedypen of the Comedypen of the Comedypen of the Comedypen of the Types van de Kunty; of the pecorine).

The aesthetic and political process of Picasso illustrates how the artist builds his identity by living in the difficult state of immigrant. If he was stamped by the police in 1901 as an “anarchist under supervision”, thirty years later, because of the economic crisis and the Xenophobe Golf that overwhelms France, the police commissioner releases the identity card on which he is a slicer with a large black stamp with a large black stamp the “Spanish” “Spanish” formula. Fingerprints were added in 1938. The mythological Minotaurus, designed and reworked in the years of surrealism, will be double, his alter ego, a disarming figure held by a girl. By investigating the period that precedes his climb to fame, the exhibition sees the traces found in the archives to bring the light, in all their truth, the beginning of a young artist looking for an open world to anchor his own path. In a very centralized country, from the institutions that are sometimes outdated and worn out by its own tensions, Picasso has succeeded with intelligent to find admirable bypass strategies.

The preparatory drawing of 1942 for sculpture “Man with sheep” He portrays the body of a modest man who, as a offer offer, carries a lost sheep on his shoulders. The work is a replica for the imposing nudes of Arno Breker, a German artist who has announced the Advent of the “New Man” in his exhibition ’42 in the Museum of the Orangerie in the dynamics of Nazism, and the pagan theme of the Christian status of the artist.
“In contrast to the world of the new man (flooding with heroes, winners and conquerors) – Annie Cohen -Solal explains – Picasso chooses to stand on the side of the weak, of the patient, of the” Degenerate “(the Jew, the other side of the other side of the other side on the other side of the other side of the other side of the other side of the other side. Agnus Dei van Zurbarán. Challenge, Obolo, Sacrifice, walk to martyrdom? The man with the sheep, of which Picasso will donate the bronze version in February 1950 to the municipality of Vallauris, when honorary citizenship will be granted to him, is certainly one of the most important testimonies of the occupation years “.

Accompanied by a catalog published by Marsilio Arte, also made thanks to the support of Buper Banca, the exhibition also embraces an original reflection on Picasso and ceramics as a challenge and art, by some indispensable ships. The scarf made on the occasion of the World Youth Festival and Students for Peace. It was held in Berlin from 5 to 19 August 1951. Four faces of different colors contain a pigeon. Paloma or Peace. A message intended for yesterday, but today more than ever topical.