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June 06
Edition

Pages in PDF

Regular
Features

› The Fat Lady
  Sings
  with JoAnn Pacholli

› In Tents Thawt
  with Mick Pacholli

› Sid's Comments
  with Sidney
  Somerville-Smith

› The Lie Detector
  with Mitchell
   Faircloth

› Fab's Ravings

› Technology
  with Chris Jacobs

› Your Views

› The Artful Stock Picker
  with
  Peter Hegarty

› Marketing Advice
  with Andrew Hickinbotham

› Family Issues
  with
  Marilyn Brideson

› The Culture of Appearance
  with
  Suzanne Walker

› Gallery Gazing

› Planet Clare

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› Social Scene
  with Ken James

› Live Theatre
  with Blair Edgar

› Movie Scene
  with
  Marcus Sinclair

› Entertainment
  with Gary Turner

› Grazing in the
  Suburbs
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› Fab's Travel

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  with Mick Pacholli

› Furry Friends
  with
  Dr Graeme Smith

› Racing
  with Ted Ryan

› Rant & Rave
  with
  Paddles Hackett

› Bowls
  with Mick Pacholli

› Motoring
  with Garry Fabian

› Short Cuts
  Writers
  Competition

Picasso: Love & War 1935 - 1945

Over 300 works are to be displayed in this exhibition which explores the personal and artistic relationship between Pablo Picasso and Dora Maar, his lover and muse during the globally turbulent decade of 1935–1945.

Geurnica

In January 1937 Picasso painted his most celebrated canvas, and one of the most recognised works of the twentieth century, Guernica. This monumental composition measures 3.5 by nearly 8 metres in size.

A selection of Dora Maar’s photographs, articulating 8 main states in the development of Guernica’s final composition, were published in Cahiers d’art in July 1937, coinciding with the official unveiling of Picasso’s canvas in the Spanish pavilion at the Paris World Fair. Negatives and prints newly discovered in Dora Maar’s estate, however, enable an even greater understanding of the genesis of this masterwork.

Weeping Woman

Picasso continued to pour his rage into works that commented on the horror of war. In early July 1937, he made a number of works that explored the motif of a solitary weeping woman.

Dora Maar’s strikingly sultry features were used in part as a model for the Weeping Woman compositions Picasso’s Weeping Women are complex and universal symbols of uncontrollable passion, which can be read in numerous ways – as modern variants of the ancient Christian motif of the Virgin Mary mourning her dead son Jesus Christ, as personifications of Mother Spain torn apart by Civil War – even perhaps as self-portraits of Picasso’s own grief for his homeland, partially mediated through the features of his beloved muse Dora.

The National Gallery of Victoria’s Weeping Woman was painted on the 18th of October 1937, on the same day as a related painting in the Musée Picasso. Strong purples and acidic greens dominate both paintings, which are at once related, yet completely different in their technical execution and graphic expression of this emotive subject.

This exhibition will be held at NGV International, 180 St Kilda Road, Melbourne, from 30 June to 8 October 2006. For more information call NGV International on 8620 2222
 

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