A century ago, in 1913, the Art Institute of Chicago became the first art museum in the country to present the work of a young Spaniard who would become the preeminent artist of the 20th century, Pablo Picasso. This February the museum celebrates the special 100-year relationship between Picasso and Chicago by bringing together over 250 of the finest examples of the artist's paintings, sculpture, prints, drawings, and ceramics from private collections in the city, as well as from the museum's collection, for the first large-scale Picasso exhibition organized by the museum in almost 30 years.
After first showing artworks by Picasso in the 1913 Armory Show, the museum began collecting his works in the early 1920s with two figural drawings, Study of a Seated Man (1905) and Sketches of a Young Woman and a Man (1904/05); in 1926 the museum welcomed The Old Guitarist (late 1903–early 1904) as a generous gift of Frederic Clay and Helen Birch Bartlett. Over time, the collection has expanded to include paintings such as the classically inspired Mother and Child (1921) and the surrealist Red Armchair (1931); landmark sculptures including the Cubist Head of a Woman (Fernande) (1909) and a maquette for Picasso's largest three-dimensional work, Monument for Richard J. Daley Plaza (1965); and works on paper such as Woman Washing Her Feet (1944) and impressions of The Frugal Meal (1904), one of only three examples in the world of the famous Blue Period etching actually printed in blue ink.
Featuring such diverse and significant works from the museum's own exceptional holdings and from collections throughout the city, Picasso and Chicago not only charts the full gamut of Picasso's artistic career but also chronicles the growth of Chicago as a place for modern art and the storied moments of overlap that have contributed to the vibrant interest in Picasso from 1913 to today. Adding to the celebration of this eminent artist and his connection to our city are special installations throughout the galleries as well as a host of exceptional programming.
Picasso and Chicago is organized by the Art Institute of Chicago.
Lead Corporate Sponsor:
Major funding provided by the Auxiliary Board of the Art Institute of Chicago.
Annual support provided by the Exhibitions Trust: Goldman Sachs, Kenneth and Anne Griffin, Thomas and Margot Pritzker, the Earl and Brenda Shapiro Foundation, the Trott Family Foundation, and the Woman’s Board of the Art Institute of Chicago.
1 day 1 hour ago The Art Institute of Chicago CLOSING SOON—Invisible Man: Gordon Parks and Ralph Ellison in Harlem
Two major figures in American art and literature aim to make the black experience visible in postwar America.
Closing August 28—http://bit.ly/2aQrnYd
1 day 6 hours ago The Art Institute of Chicago It is believed Van Dyck never intended for the early stages of his etchings to be circulated and was surprised by their immediate popularity in the art market. Finding success at a time when artists didn’t usually show works in progress, these “unfinished” prints helped set the stage for the more recent popularity of works that reveal the creative process. See the prints that altered conventions in Van Dyck, Rembrandt, and the Portrait Print—closing August 7.
2 days 59 min ago The Art Institute of Chicago #TBT 1983: The museum held an exhibition for the collection of Jalane and Richard Davidson, Chicago collectors of contemporary American realist drawings. Acknowledged at the time for collecting against prevailing art world trends, they amassed a comprehensive collection of work spanning the careers of both well-known artists—like Jack Beal, pictured here with Jalane herself and a portrait he made of her—and lesser-known Midwestern artists. The entire Davidson collection was bequeathed to the museum and saw another exhibition devoted to it in 1999.