Picasso: Painting the Blue Period is a groundbreaking exhibition that provides new insight into the creative process of Pablo Picasso (1881–1973) at the outset of his career. It is the first exhibition in Washington, DC, in 25 years to focus on the early works of this 20th century icon, just as he was beginning to define himself on the international stage.
Focusing on the years 1900–04, the exhibition tells the story of how the young Spanish artist, then a fledgling painter in his late teens and early twenties, formulated his signature Blue Period style by engaging with the subject matter and motifs in specific works he encountered—by Old Masters and his contemporaries alike—as he moved between Barcelona and Paris. The Blue Period works in the exhibition reveal Picasso’s evolving and sometimes controversial approach to issues of sex, class, poverty, despair, charity, and female incarceration.
At the heart of Picasso: Painting the Blue Period is new scientific and art historical research undertaken on the three Blue Period paintings in the collections of the two co-organizing institutions: The Blue Room (Paris, 1901) from The Phillips Collection, and Crouching Beggarwomen (Barcelona, 1902) and The Soup (Barcelona, 1903) from the Art Gallery of Ontario; this is the first exhibition to approach the Blue Period in this manner. These studies form the technical foundation of the exhibition, establishing context for these works with particular attention on the underlying hidden compositions and motifs newly revealed beneath each work. The exhibition’s final section tracks how Picasso revisited and repurposed themes from the three works into the late Blue Period and early Rose Period of 1905–1906.
Presenting works from 30 international collections, Picasso: Painting the Blue Period will feature more than 70 paintings, sculptures, and works on paper by Picasso along with works by French and Spanish artists that he studied before and during the Blue Period.
Curators and conservators discuss how technical analysis tells a deeper story about Picasso’s materials and his creative process
The Blue Room
Pablo Picasso, The Blue Room, 1901, Oil on canvas, 19 7/8 x 24 1/4 in., The Phillips Collection, Acquired 1927 © 2022 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Pablo Picasso, Crouching Beggarwoman, 1902, Oil on canvas, 39 7/8 x 26 in., Art Gallery of Ontario, Anonymous gift, 1963. 63/1 © 2022 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Pablo Picasso, The Soup, 1903, Oil on canvas, 15 3/16 x 18 1/8 in., Art Gallery of Ontario, Gift of Margaret Dunlap Crang, 1983. 83/316 © 2022 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
The Blue Room
Watch & Listen
Associate Conservator Patricia Favero on discoveries on The Blue Room
Curator Suan Behrends on Picasso’s Blue Period Women
Exhibition co-curators Susan Behrends Frank (The Phillips Collection), and Kenneth Brummel (Art Gallery of Ontario) talk about some of the works in the exhibition.
The catalogue (published by DelMonico Book/ArtGallery of Ontario/The Phillips Collection) presents new insights into Picasso’s Blue Period. Essays, a chronology, and a summary of conservation findings contextualize Picasso’s experimental approach to painting. A major contribution to the burgeoning field of technical art history, Picasso: Painting the Blue Period advances new scholarship on one of the most critical episodes in 20th-century modernism.
Picasso: Painting the Blue Period is co-organized by The Phillips Collection and the Art Gallery of Ontario (Toronto, Canada) with the exceptional support of the Musée national Picasso-Paris.
The exhibition and its publication are generously supported by the Frauke de Looper Trust, the Ednah Root Foundation, Share Fund, and the National Endowment for the Arts.
Additional support provided by Lee M. Yarbro, Ken and Dottie Woodcock, Dr. Heather McPherson, Mark Tushnet and Elizabeth Alexander, John and Jean Lange, Diana Reuter-Twining and Edmund S. Twining III, and Patricia Squires and Patrick Spann, and Eileen and Michael Tanner
Made possible by The Phillips Collection’s Exhibitions Endowment Fund, which is generously supported by the Sherman Fairchild Foundation, Michelle and Glenn Engelmann, Robert and Debra Drumheller, and The Marion F. Goldin Charitable Fund
The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
In-kind contributions provided by Farrow & Ball