Last Thursday many of us recieved a guided tour of "Picasso and American Art." a major exhibition at the Whitney Museum of American Art. It was about Picasso's influence on American artists in the early 20th century. Until this show, I had not realized that Picasso had never came to America, not even to present his large-scale retrospectives, so to see the many artists he influenced was is a testament to the magnitude of Picasso’s legacy and genius. His career spanned more than 70 years and contained countless styles and movements. The exhibit showcased the works of Pollack, De Kooning, Johns, Lichtenstein, Gorky, Weber, and even Warhol, to name a few.
To base the exhibit on comparisons, the curator first located an American painting that had been influenced by a Picasso, or cubism, and then tracked down the Picasso that influenced it. Rooms were devoted to specific movements and styles of Picasso's work, as well as to other Amerian artists. For example, one room was devoted Picasso's abstract cubism and its influence on Max Weber and Stuart Davis. Although this was a provocative way of presenting the works, without the aid of a guide, I would have missed many of the incredible comparisions.
The exhibit
showcased more than three-hundred works, the most interesting of which, for me at least, were those of Jasper Johns. Johns avoided Picasso’s shadow for most of his career, staying true to his American roots. It wasn’t until he was asked to do a piece for Picasso’s 90th birthday that Johns turned to Picasso. After originally declining to do a dedication piece for the Picasso's birthday, Johns finally accepted. Johns' piece incorporated Picasso's wit and humour to the fullest. He found a silhouette of Picasso's face in a newpaper, and simply by making a mirror image of the profile formed a chalice. As seen above, Johns titled the piece, "A Cup To Picasso, A Cup For Picasso."
Other Johns' works in the show include his "Summer and Fall" panels. In these two extrodinary works, Johns utilizes Picasso's most depressing works and turns them into a melancholy self-reflective meditation on the seasons.
Pollock's "27" was the surpise inclusion in the exhibit. Apparently Pollock had drawn in Picassoesque elements with black before he completly covered them up with an array of colors. Pollock used to form tangiable images as the first layer of paintings, only to progressively destroy all recognition of them. He and Picassoused to share numerous letters and were good friends despite never meeting.
The
best Picasso included in the exhibit is his, "The Three Musicians." Less abstract than his other cubist works in the show, this piece influenced many works by Gorky, Davis, De Kooning, and Max Weber. The use of blues and whites in the piece reflects the simplicity and clairity later cubist painters took from this work. Although cubists often represented their subject from different vantage points, the colors in "Muskateers" suggests otherwise. Picasso plays on the over-complexity of his other works, and in this piece shows the simpler side of synthetic cubism.
Rarely do I get an opportunity to see such an array of masterpieces in one room, let alone receive a an outstanding tour from a real scholar. "Picasso and American Art" was stunningly impressive. This was my first time to the museum, which holds roughly 12,000 works, including 2,500 Edward Hoppers. I look forward to returning in the future.
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