I love the Tate Modern. There’s the shows, of course — the free ones from the permanent collection and the blockbusters. There’s the mysterious Tanks and the clever Artist Rooms. There’s the building, with all its curves and angles and long, long escalators, and the wonderful smooth sloping Turbine Hall. There are the people who swarm through it, who all seem happy to be there. People from many lands, with many complexions, dressed up, dressed down, dressed tastefully, dressed oddly. And children, running and rolling and skipping up and down the shiny turbine slope. Photo-ops everywhere!
The show was Picasso 1932. An argument is made that this was a pivotal year for Picasso, and it seems so. However, Picasso had many phases in a long artistic life, and there are other years that are equally important. But what does it matter?
Lots to see in 1932, particularly since Picasso had his first retrospective that year, providing an opportunity to include works from other periods. Particularly interesting was an arrangement of a group of paintings and drawings just as they appeared in the exhibition in 1932.
I’ve been looking long and hard at Picasso’s work ever since the great
Picasso and Man exhibition at the Art Gallery of Ontario when I was in high school. (“Picasso and Man” it was called, though “Picasso and Woman” would have been more appropriate. This was 1964.) He’s like an old friend. I’m always glad to renew our acquaintance.