La Galerie Presents Picasso Printmaker

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From now until March 13th, La Galerie joins hands with Marie-Florence Gros to present the Picasso Printmaker Exhibition. The exhibition showcases a range of etching and linocut prints, a technique which was once neglected, but was picked up by Picasso. Through the Exhibition, you can dive into the mind of Picasso and see through his interpretations of things and people he found inspiring.
The Exhibition offers a unique and exclusive chance to appreciate Picasso’s Suite Vollard, one of his greatest achievements in print from his neoclassic period.
we used this rare opportunity to interview the gallery Art Curator, Anne-Francoise Gavanon, here’s how it went:
1) In this exhibition, which one is your favorite?
​My favourite print is Marie-Therese watching over the sleeping Minotaur.  I love the overall peaceful and gracious atmosphere that Picasso has been able to infuse to the print with the head of the sleeping minotaur barely discernable behind the semi-translucent curtain.   And every time I look at it, I am amazed at how Picasso masterminded printing, it is indeed very difficult in etching to render the semi-transparent quality of the curtain.
2) What makes Picasso wanted to move to France and started Ceramics? In his pottery work , Is there any recurring themes or patterns 
In 1946, Pablo Picasso visited the annual fair of pottery of Vallauris, a small town in the south of France, and met with Suzanne and Georges Ramie, the owner of the pottery Madoura.  Picasso had very often worked with clay throughout his sculpting practice however never with ready-made objects.  Suzanne encouraged him to play with some of the models such as some plates, vases that the Madoura pottery was commercializing.  
Then in 1948, he comes back to Vallauris and definitely settled in this town – and until his death the south of France will be his new home.  If one looks at his sketching books between 1946 and 1948 they are full of preparatory drawings, of sketches in which the artists transformed the Madoura pottery into his own creations.  And so I would say that Picasso’s attraction to ceramic has been a process, mature decision.  I think he was attracted to ceramic because this was a way of working he had never experienced, he had to work with pre-established forms and not create from the onset; Picasso loved challenges and every thing new.  
3) Nowadays, Picasso is still a big monster to Chinese people .Everyone knows his name. But at around 1930s, when his works first came to China, some famous Chinese intellectuals found themselves did not like this kind of art.(some of them saw Picasso’s works when they were abroad.) I think there’s a big culture gap here. If we want to understand an artist ,we need to learn the whole story and background about him, but it takes a long time.
 In your exhibition, how are you going to narrow the culture gap and help people from different culture backgrounds understand better? What comes first when you introduce the artist ? 

I am not surprised that famous Chinese intellectuals did not appreciate Picasso’s style in the 1930s, many French civil servants and intellectuals didn’t either.  In the 1930s Picasso was still considered an avant-garde artists, who broke many rules, and his style was not universally liked.  There indeed are cultural gaps but I think Art, be it visual art, music, poetry, is an universal language and one of the most powerful to bridge cultural gaps.  I have personally encountered the power of art, when I was trekking in Kamchatka in Russia.  I was the only non speaking Russian person in our group and every night listened to my Russian friends reciting Russian poetry.  And even though I did not understand a word, it was divine, it was touching something within me I did not know of – it was a very content and beautiful feeling.  I think this is the power of Art.  And I hope that people in Hong Kong will experience a similar revelation when looking at some of picasso’s prints.

When it comes to Picasso’s prints, there is however one very important thing:  Picasso worked very hard and was an accomplished craftsman.  Our exhibition proves it very well.  We are presenting some individual impressions of La Suite Vollard that is a technical feat and some linocuts, a medium that Picasso brought to a climax never attained since.  And so I would say that even if some visitors do not appreciate Picasso’s style, they can only be impressed by his printmaking practice and the extremely high level of quality of his prints.
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Image Credits to La Galarie