Despite the fact that he never actually traveled to the United States, Picasso and Chicago (opening on February 16 to members and February 20 to the public) celebrates the artist's strong connection with our fair city. Perhaps the best example of this relationship is the sculpture known as the Chicago Picasso in Daley Plaza.
When the Chicago Civic Center (now known as the Richard J. Daley Center) was completed in the early 1960s, architects from Skidmore, Owings & Merrill (SOM) met with administrators from the Art Institute to begin to discuss plans for the plaza. According to SOM architect William Hartmann:
When we discussed how this open space or plaza should be designed ultimately, we came to the unanimous conclusion . . . that this is the location for the most important public sculpture in America. We also concluded that we would like to determine if the man who we regard as the world’s greatest living artist, would be interested in exploring this problem. We are thinking of Pablo Picasso.
Hartmann and others visited Picasso in France in 1963 armed with a model of the building, images of the Art Institute’s collection of works by the artist, and an album of photographs of famous Chicagoans. Picasso showed interest and took inspiration for the project from ideas he had been working on over the past year (see above drawing from 1962). The piece evolved, but remains remarkably consistent with these early drawings.
On August 15, 1967 the 50-foot tall, 160-ton sculpture was dedicated in Daley Plaza in front of thousands of people. Although you can see the real thing any time you'd like (and we recommend that you do), stop by the museum over the next few months to delve a little deeper into the creative process. The exhibition includes multiple drawings of the sculpture, as well as a maquette, and related photographs. There's also an amazing recording by Studs Terkel on Chicagoans' reactions to the sculpture. Spoiler alert: it was not universally beloved.
5 hours 36 min ago The Art Institute of Chicago “The animal’s frightening features—scales, claws, eyes—extend above the surface of the canvas and virtually come alive.”
ARTicle’s Work of the Week gets a new home in our reinstalled galleries of Medieval and Renaissance art, arms, and armor.
1 day 2 hours ago The Art Institute of Chicago Mary Cassatt was the only American artist to exhibit with the original Impressionist group. This sensitive portrayal of a mother and child reflects the most advanced 19th-century ideas about raising children. Scientists and physicians of the day encouraged mothers (instead of wet nurses and nannies) to care for their children and to include regular bathing in their hygiene practices to prevent disease. #5WomenArtists
See three paintings by Mary Cassatt now on view: http://bit.ly/2nl9Z68
Image: [Now on view in Gallery 273] Mary Cassatt. The Child's Bath, 1893. Robert A. Waller Fund.