FIG. 1 (left): Installation view of Picasso Primitif. Part 1: “Chronology” 1900–1974. © Musée du Quai Branly – Jacques Chirac. Photo: Gautier Deblonde. PICASSO PRIMITIF: I experienced my purest emotions in a large forest in Spain, where, at the age of sixteen, I had withdrawn to paint. I experienced my greatest artistic emotions when the sublime beauty of the sculptures executed by the anonymous artists of Africa suddenly became apparent to me. These religious, passionate, and rigorously logical works are the most powerful and beautiful things the human imagination has produced. I will add that I loathe exoticism. Picasso/Apollinaire, Correspondances, Paris, Gallimard, 1992. 78 By Elena Martínez-Jacquet Three hundred works, including 107 by Picasso drawn from prestigious museum and private collections, are on display at the Musée du Quai Branly – Jacques Chirac through July 23 in its Picasso Primitif (Picasso Primitive) show. It had to be done. While it is true that the mere mention of Picasso’s name (and he was among the most mediahyped artists of all time) seems to attract a large public unfailingly, the project that Yves Le Fur, director of the heritage and collections department at the Musée du Quai Branly – Jacques Chirac, has undertaken here is still a risky one. Pablo Ruiz Picasso (1881–1973) is the author of one of modernism’s most fundamental corpora of works, and that corpus has been extensively studied and critiqued. Any new examination of it needs to be audacious ART on view Convergence at the Source of Creation
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