ART ON VIEW FIG. 11 (right): Mask. Dan, Côte d’Ivoire. Part 2: “Body to Body—Id: Looks.” Wood. H: 25 cm. MQB–JC, inv. 73.1966.3.10. © Musée du Quai Branly – Jacques Chirac. Photo: Claude Germain. FIG. 12 (below): Pablo Picasso, Masque, 1919. In part 2: “Body to Body—Id: Looks.” Cardboard, string. 22.5 x 17.5 cm. Musée National Picasso, Paris. Pablo Picasso estate donation, 1979, MP256. © RMN-Grand Palais (Musée National, Paris)/Béatrice Hatala. 82 FIG. 14 (above): Boli. Bamana, Mali. 19th century. In “Body to Body—Id.” Wood, composite material. H: 60 cm. MQB–JC, inv. 70.2009.40.1. © Musée du Quai Branly – Jacques Chirac. Photo: Claude Germain. FIG. 13 (below): Pablo Picasso, Femme, 1948. “Body to Body—Id.” Bronze. 18 x 14.5 x 8 cm. Musée National Picasso, Paris, Pablo Picasso estate donation, 1979, 332. © RMN-Grand Palais (Musée National, Paris)/Béatrice Hatala. © Succession Picasso, 2017. has a particular signifi cance here, as do combinations of animal and human traits that are so recurrent in the visual magic in both tribal art and Picasso’s work. The third section of the second part of the exhibition, which is based on the Freudian notion of the Id, examines the drives of life and death that are rooted in the unconscious. This is the realm of impassable and horrifi ed gazes (fi gs. 11 and 12), of highly sexualized bodies, and of instinctive forces manifested by improbable forms (fi gs. 13 and 14). Some might wonder if the tribal art in Picasso Primitif is really anything more than just a pretext for another tribute to the great genius. The answer is that it categorically is not. The pieces are the heart of the exhibition and are seen in a fresh light here, especially in the second part of the show where evince surprising phenomena of convergence in the sculptural solutions the artists selected in order to address aesthetic challenges. Concretely, the subjects are grouped according to three concepts: “Archetypes,” “Metamorphoses,” and “The Id.” Each of these broad subjects is subdivided into smaller subcategories. Taking the human body and fi gure as its starting point, the “Archetypes” section examines formal principles like nudity, stylization, construction according to positive and negative space, and even using the body reduced to a symbol. The latter is sensitively illustrated through a dialog between a New Caledonia anthropomorphic sculpture (fi g. 7) and Picasso’s 1907 Petit Nu de dos aux bras levés (study for Les Demoiselles d’Avignon) (fi g. 8). The “Metamorphoses” section explores the use of materials as well as the processes of transformation, mise en abyme, and anamorphosis. The mask
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