Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)
ANNUAL REPORT - A 2006. ÉV - MÁRTON OROSZ: Picasso in Love: Picasso: Woman Reading
PICASSO IN LOVE: PICASSO: WOMAN READING August 1, 2006 - September 17, 2006 Curators: Judit Geskó and Márton Orosz GÉZA PERNECZKY. PICASSO IN LOVE: PICASSO: WOMAN READING. BUDAPEST 2006. HUNGARIAN AND ENGLISH TEXT. 90 PP.. 23 COL. ILLS.. ISBN 963 7063 315 The key work of the fifth exhibition of the "Geniuses and Masterpieces" series was Pablo Picasso's Woman Reading. It was placed at the disposal of the xMuseum of Fine Arts through the intermediary work of Jean Clair, former director of the Musée Picasso in Paris who has for a long period of time been in scholarly contact with the curator of the exhibition. The exhibition introduced Picasso, one of the most popular and probably the most controversial artists of the twentieth century, through his private life, and more precisely through his love affairs. Bilingual quotations from Picasso or about Picasso, photographs and a biography of women who had a relationship with him as well as detailed descriptions of these love affairs were placed around the paintings in order to determine in what way and to what extent Picasso was influenced in his various artistic phases by his affairs and long lasting relationships. The protagonist of the exhibition was the oil portrait of Marie-Thérèse Walter, made in 1932; to facilitate a deeper understanding of this work, four drawings, lent by the Musée Picasso in Paris and the Staatsgalerie in Stuttgart, were placed around the painting. The other works of art mostly come from the Collection of Prints and Drawings of the Budapest Museum of Fine Arts. Among them was the famous w r atercolour, Mother with Child that once belonged to the Hatvány Collection. During the time when Picasso lived in Paris, at the atelier house known as Bateau-Lavoir on the Montmartre, at 13 rue Ravignan, he had several short love affairs with his models. Two relationships developed out of these, that are worthy of note: Madeleine, who bore Picasso a child (and was probably the model for the above mentioned Hatvány watercolour, on the borderline between his blue and pink periods) and Margot, a waitress at the bar Lapin Agile (her portrait at the exhibition was a copperplate etching profile from 1905). His first companion was Fernande Olivier, to whom Picasso was linked throughout his entire life in a sort of comradeship; she was represented at the exhibition not only by the pen drawing on the back of the
