Minotaurs (half-bull, half-man hybrids from Greek mythology) and horses are fairly common characters in Picasso's work. In addition to the painting above, the wounded horse makes an appearance in Guernica, one of Picasso's most famous paintings. Both figures also pop up elsewhere in the exhibition in prints that Picasso made in the 1930s.
Bulls would have been recognized as emblems of Spain, but minotaurs represented man's irrational impulses and perhaps appropriately can be found in other works in the exhibition in orgy-like scenes. Some suggest that Picasso himself identified with this character.
In this painting, the minotaur acts as torero and aggressor, having just gored the horse in the middle of a crowded bull-fighting ring. But the turmoil in this painting might be a little more complex. It was painted at a time when Picasso was struggling with both his wife Olga and his mistress Marie-Thérèse, as well as unrest brewing in his native Spain.
3 hours 33 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.
23 hours 59 min 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.