Louisiana Museum of Modern Art
Pablo Picasso – Tête de Femme (1961)
- Specifications
- Description
- The Maker
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-11586-FJ-OH
- Material: Printed on paper.
- Dimensions:33.1" x 23.4" (A1)
"Picasso arouses our curiosity with his ceramic works and their many different shapes, colors and shapes. In this way he succeeds in making us observe and consider things more carefully".
So said Picasso's grandson, Bernard Ruiz-Picasso, when he helped open Picasso Ceramics, the major spring 2018 exhibition that marked the beginning of Louisiana's 60th anniversary year.
By the time Picasso turned 65 in 1946, he was well established as one of the leading artists of the 20th century. He was financially successful and with the painting, Guernica , he also gained a reputation as an artist with a strong political voice.
So when, after the Second World War, Picasso began to deal with something completely new to him—ceramics—it was due to two factors: With a new life partner and two children, he felt rejuvenated and let his great creative energy unfold in new media.
Second, Picasso returned to the Mediterranean coast and settled down. His works were strongly influenced by his experience of the South and the area's mythological and artistic traditions. Picasso's work with fired clay was not only an acknowledgment of the past, but also a new artistic challenge with new materials and techniques.
From the beginning, the founder, Knud W. Jensen, intended for the museum to be a home for modern Danish art. But after only a few years he changed course, and instead of being a predominantly Danish collection, Louisiana became an international museum with many internationally renowned works.
Louisiana's close contact and collaboration with the international arts and cultural milieu has since been one of the museum's greatest strengths. And also one of the main reasons that it has been possible for Louisiana to present an exhibition program that has resonated so strongly with the public over the years. Louisiana has thus achieved a standing as one of the world's most respected exhibition venues, and in the future, it will be able to attract exhibitions and artists at a level that few other museums—either in Denmark or abroad—can match.
Knud W. Jensen put into action many of the period's visionary ideas about modern museum operation, including a desire for art to have a wide audience. It has always been the view at Louisiana that art is not just for an elite but includes experiences and visions for the many.
Why is it called Louisiana?
Many people wonder about the name of the museum. The short explanation is this—a nobleman and his three wives.
Knud W. Jensen chose to "take over" the name of the country house that he later converted to a museum. The property had been built and named in 1855 by Alexander Brun (1814-93), who was an officer and Master of the Royal Hunt and who married three women who were all named Louise.
Here at Louisiana, he was a pioneer in beekeeping and the cultivation of fruit trees.
From the beginning, it was Knud W. Jensen's vision to create a museum with soul, where the public could encounter artwork—not as something pretentious, but rather something that spoke directly to the viewer. And he emphasized the need for "supplementary content" that could help bring alive and enrich the environment: The more opportunities for experience that the program offers, the more Louisiana lives up to its idea—to be a 'musical meeting place' and a milieu that is engaged in contemporary life.
—Knud W. Jensen
