http://www.artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/ Tue, 22 May 2012 19:15:09 +0000 hourly 1 http://wordpress.org/?v=3.0-RC3 http://www.artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/comment-page-1/#comment-9560 variations of destructive mockery | Madame Pickwick Art Blog Fri, 26 Aug 2011 17:15:54 +0000 http://testingartcritical.com/?p=1735#comment-9560 [...] …So much is made of Picasso’s reckoning with the past in his deconstruction of Dutch and Spanish old masters, whereas the revelation of the Guggenheim’s achronistically hung 2006 exhibition, Spanish Painting from El Greco to Picasso: Time, Truth, and History was how the well-engineered salvos of Miró and Gris crisply held their own beside Goya and Velasquez, and how fresh and potent Dalí’s early work seemed. The abundant Picassos, on the other hand, looked unintentionally out of place, undercooked in the company of their cussedly elegant forebears and rivals. The current show takes aim more at Hals and Rembrandt, and the perverse feeling I got was that Picasso had it backwards, channeling the anguished depths of the former and the shimmering felicity of the latter. InMousquetaire et femme à la fleur (4/18/1967) a version of a recurring lace-collared, mustachioed voyeur is scribbled with a certain self-regard. This rote construction feels inflated in its “mastery,” conjuring the ghastly specter of Dali doodles from his pitiful decline.Read More:http://artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/ [...] [...] …So much is made of Picasso’s reckoning with the past in his deconstruction of Dutch and Spanish old masters, whereas the revelation of the Guggenheim’s achronistically hung 2006 exhibition, Spanish Painting from El Greco to Picasso: Time, Truth, and History was how the well-engineered salvos of Miró and Gris crisply held their own beside Goya and Velasquez, and how fresh and potent Dalí’s early work seemed. The abundant Picassos, on the other hand, looked unintentionally out of place, undercooked in the company of their cussedly elegant forebears and rivals. The current show takes aim more at Hals and Rembrandt, and the perverse feeling I got was that Picasso had it backwards, channeling the anguished depths of the former and the shimmering felicity of the latter. InMousquetaire et femme à la fleur (4/18/1967) a version of a recurring lace-collared, mustachioed voyeur is scribbled with a certain self-regard. This rote construction feels inflated in its “mastery,” conjuring the ghastly specter of Dali doodles from his pitiful decline.Read More:http://artcritical.com/2009/05/01/pablo-picasso-mosqueteros-at-gagosian-gallery/ [...]

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