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.
1 day 55 min ago The Art Institute of Chicago "Be a good craftsman; it won't stop you being a genius.”
Advice from Pierre-Auguste Renoir, on his birthday.
See 13 paintings by the great French Impressionist—now on view: http://bit.ly/2lj3AVq
1 day 18 hours ago The Art Institute of Chicago NOW OPEN—Go
Speed is both a product of modern life and an agent of it. At the turn of the 20th century, new technologies of mobility and transmission—trains, cars, airplanes, radio, film, television, to name only a few—increased the pace of life, collapsing distances between people and places and assaulting the senses.
Go, the second exhibition in the Art Institute’s Modern Series, explores how artists responded to different ways of experiencing and seeing the world in the accelerated modern age—through paintings, sculpture, works on paper, photographs, designed objects, textiles, books, and films.
1 day 23 hours ago The Art Institute of Chicago Happy birthday to Winslow Homer. In 1883 the artist moved to a small coastal village in Maine, where he created a series of paintings of the sea unparalleled in American art. The paintings he created after 1882 focused almost exclusively on humankind’s age-old contest with nature.
In The Herring Net, Homer depicted the heroic efforts of fishermen at their daily work. While one fisherman hauls in the netted and glistening herring, the other unloads the catch. Utilizing the teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Homer’s isolation of these two figures underscores the monumentality of their task: the elemental struggle against a sea that both nurtures and deprives.
See five paintings by Winslow Homer in Gallery 171 of American Art—http://bit.ly/2l89rfx