The way we view Pablo Picasso’s work has long centered around two paradigms. In one, he is the cerebral cubist, detached from personal feeling and concerned only with the deconstruction of representation. In the other, he is a volatile paramour, pouring his beliefs, his politics, and his libido into his art. The 50th anniversary of his death, marked by a flurry of exhibitions around the world, has reignited debates around the artist’s work and personal life. This talk provides a contemporary take on Picasso and proposes a potential middle ground for understanding the role of biography in understanding his work. Focusing especially on his depictions of women after 1910-some of his most expressive, even melodramatic scenes-Joseph Henry susses out a modernism both beseeching and distancing, both liable to biography and detached from it.
Speaker
Joseph Henry is the Florence B. Selden Fellow at the Yale University Art Gallery and a PhD candidate at the Graduate Center of the City University of New York, where he specializes in Euro-American modern art. He has also written on contemporary art for publications including Artforum, Texte zur Kunst, and Art in America, as well as in numerous exhibition catalogues.
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About The Barnes Foundation:
The mission of the Barnes is to promote the advancement of education and the appreciation of the fine arts and horticulture.
Our founder, Dr. Albert C. Barnes, believed that art had the power to improve minds and transform lives. Our diverse educational programs are based on his teachings and one-of-a-kind collections.
Philadelphia art collector, Albert C. Barnes (1872-1951), chartered the Barnes Foundation in 1922 to teach people from all walks of life how to look at art. Over three decades, he collected some of the world’s most important impressionist, post-impressionist, and modern paintings, including works by Renoir, Cézanne, Matisse, and Picasso. He displayed them alongside African masks, native American jewelry, Greek antiquities, and decorative metalwork.
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