83 they are juxtaposed with Picasso’s creations. They also benefi t greatly from a balanced presentation that manages to create a happy marriage between the somber and the theatrical. Picasso Primitif is a liberating aesthetic experience and a fi ne opportunity to take stock of the importance of the contributions of African and Oceanic artists to art in a universal sense. Shown here neither as cult objects nor as sources of inspiration, the tribal artworks on display in this exhibition appear as accomplished and perfected manifestations of human creative activity— an important lesson. Produced in collaboration with the Musée National Picasso de Paris, Picasso Primitif is accompanied by a 384-page catalog with 280 illustrations, co-published by the Musée du Quai Branly – Jacques Chirac and Flammarion. FIG. 17 (below): Installation view of Picasso Primitif. Part 2, “Body to Body—Id: Fling Aside.” © Musée du Quai Branly – Jacques Chirac. Photo: Gautier Deblonde. FIG. 16 (left): Pablo Picasso, Étude pour Trois femmes : tête de la femme de droite, 1908. Part 2, “Body to Body— Id: Fling Aside.” Charcoal on paper. 62.5 x 48 cm. Musée National Picasso-Paris, Jacqueline Picasso estate donation, 1990, MP1990-60. © RMN-Grand Palais (Musée National Picasso, Paris)/Thierry Le Mage. FIG. 15 (right): Mask. Kairiru Island, Papua New Guinea. 19th century. Part 2, “Body to Body—Id: Fling Aside.” Wood, traces of pigment. H: 47.3 cm. MQB–JC, inv. 72.1995.3.1. © Musée du Quai Branly – Jacques Chirac. Photo: Claude Germain. PICASSO PRIMITIF
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