Pablo Picasso: Unbounded Virtuoso
I am always doing that which I cannot do, in order that I may learn how to do it.
Unbounded Virtuoso exhibits works on paper from 1909-1972 that reflect the artist’s celebration of life through his devotion to a process of reinvention to provide renewed, and unlearned, perspectives.
It is with great pleasure that Vedovi Gallery presents a selection of drawings by renowned artist Pablo Picasso (1881-1973). The perpetual evolution and innovative revolution of style throughout the artist’s monumental oeuvre describes Picasso’s vehement devolution to a process of unlearning: “I am always doing that which I cannot do, in order that I may learn how to do it” once quoted by the artist. Unbounded Virtuoso exhibits works on paper from 1909-1972 that reflect the artist’s celebration of life through his devotion to a process of reinvention to provide renewed, and unlearned, perspectives. In doing so established a process in which to further expand and interpret great strife and great beauty within moments of our humanity. Throughout his work Picasso depicts his subjects as both how they exist outwardly to the world while also visualizing their eternal spirit from which he attributes so much inspiration. Whether it be through a mythical interpretation of himself as the artist (Tête d’Arlequin, 1909 and Nu et Homme assis, 1971) or thought the vitality of a muse such as Marie-Therese Walter (Joueuse de flûte et nu couché, 1932), Picasso’s curiosity for an ever-changing form enables his work to challenge notions of the figure, subject and ground through a constant pursuit of formal conquest. Picasso established an intuition for pluralism that would distinguish the artist’s practice throughout his life. The artist’s explorations in naivety, or the unbridled mark making, of his later works (Les Déjeuners, 1961) exemplify his capacity to undo his own canonization. By rejecting antiquated notions of mastery the artist was able to fulfill the pursuit of his ultimate infatuation: life. Each work carries within it the lingering effects of the past, present and future, in which the sum of the parts, as is always the case with Picasso, continues to construct the whole. The artist’s life long pursuit of form expands beyond the rigid constructs of a finite academic trajectory. Picasso’s work transcends his own established visual languages while continuing to respond to Ancient, Baroque and Neo-Classical works of art by simultaneously undermining each. Picasso’s ability to be undefined by one style, theme or subject while striving toward a formal empiricism exemplifies his unbridled artistic mastery. This intimate selection of drawings epitomizes his position within a historical cannon onto all his own, that of an unbounded virtuoso.