Archive for December 25th, 2014

The lifelong and fruitful rivalry between Picasso and Matisse is already evident in 1907, when Picasso is working on Les Demoiselles D’Avignon. Matisse had exhibited Le Bonheur de vivre in 1906. It is widely bonheurdeVivreridiculed by Parisians, but Picasso sees in it a daring move forward in the game of overriding the past. The “game” is to invent a new art, an art that’s against what has gone before. And here is Matisse quoting from the Renaissance and thumbing his nose at it at the same time. For Picasso this presents a challenge: could he come up with something more shocking. He starts working on Les Demoiselles at the end of 1906 BlueNudealready. Then in the spring of 1907 Matisse comes out with another shocker: Blue Nude, Memory of Biskra. The fact that a leading art critic at the time, Bernard Berenson, calls the painting “a toad,” is encouraging, it means that bourgeois taste is being offended. That’s the program: “épater le bourgeois” (to shock the conventionally-minded middle class).
LesDemoiselleDAvignonIn the fall of 1907 Picasso finishes Les Demoiselles d’Avignon and has some friends and collectors over. “Those invited to a viewing found it as baffling as the stuff Matisse was currently producing. Picasso’s three closest friends—the writers Guillaume Apollinaire, Max Jacob and André Salmon—were noncommittal. Kahnweiler considered the painting a failure, and Leo Stein burst out laughing when he saw it.” (Hilary Spurling, The Unknown Matisse, p379)
Picasso kept it in his studio until it was exhibited for the first time in 1916 at the Salon d’Antin, Paris, when André Salmon gave it the title by which it is known. The title comes from Picasso’s private joking with friends about a notorious brothel on Avignon Street in Barcelona. Picasso later said he disliked the title.
Jacques Doucet (1853–1929), a wealthy Parisian fashion designer purchased the painting in transactions lasting from 1924-1929.
Jacques Seligmann & Co., New York, purchased it from Madame Doucet in September 1937.
The Museum of Modern Art, New York purchased it from Seligmann, 1937- 1939, where it has been drawing crowds ever since.
Les Demoiselles d’Avignon is considered to be an icon of modernism. “Icon” is a strange word to be used in talking about modernism. More on that later.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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