Malaga - Costa Del Sol

Transcription

Malaga
TOURIST BOARD
& CONVENTION BUREAU
Sun and Art
COSTA DEL SOL TOURIST BOARD
Plaza del Siglo, 2
29015 MALAGA - SPAIN
Telephone: (+34) 952 12 62 72
“Picasso Museum”
E-mail: [email protected]
Website: www.visitcostadelsol.com
Tourist Guide 1
Available online:
www.visitcostadelsol.com
Spanish, English, French and German versions
Costa del Sol Tourist Board
PICASSO_interior_INGLESactualizacion_2012:PICASSO_interior_INGLES.qxd 30/05/2012 12:56 Page 2
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COSTA DEL SOL TOURIST BOARD
Plaza del Siglo, 2
29015 Málaga
Telephone:(+34) 952 12 62 72
E-Mail: [email protected]
Website: www.visitcostadelsol.com
Graphic design: Conmunica Mediatrader
Editing: IT Department at the Tourist Board and
Conmunica Mediatrader
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TOURIST BOARD &
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PICASSO MUSEUM
1. INTRODUCTION page 4
2. PICASSO AND MÁLAGA page 6
2.1. Life of Pablo Ruiz Picasso page 7
2.2. Gratitude from his Hometown page 18
2.3. Bibliography page 24
3. PICASSO'S MÁLAGA page 25
3.1. Málaga and Picasso page 26
3.1.1. Birth Route page 27
3.1.2. Commercial Route page 30
3.1.3. Route of Temples page 34
3.1.4. The Clergyman's Route page 38
3.1.5. Green Route page 42
3.1.6. Route of Civilizations page 46
3.2. Monuments and Museums Guide page 51
3.3. Tapas' Route page 60
3.4. Shopping in Town Centre page 70
4. THE MUSEUM: PERMANENT COLLECTION page 79
4.1. Catalogue page 80
4.1.1. Oil Paintings page 80
4.1.2. Drawings page 89
4.1.3. Sculptures page 104
4.1.4. Ceramics page 106
4.1.5. Graphic Works page 110
5. USEFUL INFORMATION page 130
5.1. Picasso Museum page 131
5.2. Tour Bus "Málaga Tour" page 131
5.3. Taxis page 132
5.4. Parking Areas page 132
5.5. Bank and Currency page 134
5.6. Tourist Information Offices page 134
5.7. Shops page 134
5.8. Emergencies page 134
5.9. Horse-Driven Carriages page 134
6. GENEALOGY. PABLO RUIZ PICASSO page 135
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It would be interesting for you to know
something about Picasso as a young boy
before you go to the museum: his family and
social context, his favourite places, his friends
and even his first sketches. You will surely
want to know that the admission is free, what
the gallery's opening hours are or read the
complete list of the masterpieces that make up
the permanent collection. We will also show
you interesting illustrations and make
comments on some of them.
1. iNTRODUCTION
Málaga, Sun and Art
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However, we must not forget that the
magnificence of this museum lies on the
unique opportunity visitors will have to
rediscover the city of Málaga, which irradiates
the same light discovered some time ago by a
little boy who quietly admired the doves at the
Plaza de la Merced. Instead of riding on
bicycle as did other children, he preferred to
stroll along the narrow streets of his town. The
city and its rich history invite you to walk
around and head towards its heart, so full of
life and whose streets feature great buildings
and monuments, and the breeze of charm and
splendour that used to blow in the past. As
soon as you start strolling along, you will
immediately find countless excuses to stop
and admire the traces of a rich historic
heritage. You will discover vestiges of the
Phoenician period rubbing shoulders with
remains of the Roman or Muslim times as well
as with Christian relics or elements typical of
the bourgeoisie. Moreover, the city's
magnificent artistic and cultural wealth is
beautifully set within a harmonious frame of
streets and plazas.
The Costa del Sol Tourist Board, perfectly
aware of the importance of the Picasso
Museum in Málaga, has prepared this special
dossier on the genial Málaga-born artist and
his town, in order to help visitors make the
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The Picasso Museum of Málaga will be no
doubt the place where the artist, his work and
his own identity meet, since it will be exhibiting
in his home town more than 200 artworks of
his private collection, which always remained
very close to him during his life and that, at the
same time, are a clear reflection of both his
personal and professional evolution. This
outstanding collection, ceded by his daughterin-law and his grandson, Christine and
Bernard
Ruiz-Picasso,
respectively,
represents the different periods and styles of
the rich history of this genial artist, while at the
same time it winds along his intense emotional
life, clearly reflected in his work. As the Málaga
Picasso Museum Foundation states, "this is
the family's museum."
For the day of your visit, we offer several
useful maps of Málaga City that will help you
locate the museum. And for you to make the
most of your visit, we will suggest several
alternative routes after visiting the museum
and lead you along the city so that you can get
acquainted with the most interesting spots in
town. And, of course, your visit should include
stops for having lunch or savouring the
delicious "tapas" Spain is famous for and
enjoying browsing around the shops. In sum, a
nice trip full of attractions to enjoy during your
stay in the province of Málaga.
Introduction
Introduction
Málaga, known as the city of light,
has blessed many artists with its luminosity,
but it was Picasso who was able to fully
irradiate this light far beyond his land's
borders. As a star glowing with its own light,
Pablo Ruiz Picasso gratefully returns to his
birth town to restore the light that taught him to
discover the world through his senses and
which is somewhat present in all his work
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most of their trip and their cultural visit. Here
you will find a guide, which will be very useful
before, during and after your visit.
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2.1. lIFE OF PABLO
the original paintings exhibited at the museum,
teaching a drawing course at the School of Fine
Arts and also painting his own work, usually
featuring still lives, flowers or doves.
RUIZ PICASSO
pICASSO AND MÁLAGA
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José Ruiz Blasco
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Picasso and Málaga
Picasso's father, José Ruiz Blasco, was known as
"the Englishman" for his slender figure, his blond
hair and beard, and his "British" elegance. Don
José was in charge of taking care of the paintings
at the Municipal Museum, a task which he
combined with other activities, such as "copying"
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Picasso and Málaga
2.1. LIFE OF PABLO RUIZ PICASSO
2.2. GRATITUDE FROM HIS HOMETOWN
2.3. BIBLIOGRAPHY
Life of Pablo Ruiz Picasso
2.
Pablo Ruiz Picasso was born in
Málaga on 25 October, 1881, on the first floor of
a house located at 16, Plaza de la Merced
(currently 15) -at that time called Rafael de
Riego-. He was the first son to José Ruiz Blasco
and María Picasso, who had got married on 8
December one year before. For many years,
there were many people who thought that
Picasso was Catalan, a wrong idea which the
artist would make clear, as his daughter-in-law
recalls. She was a witness to the artist's "claim of
his Andalusian background," and she recalls he
got angry when poorly-informed journalists spoke
of him as "Picasso, the Catalan painter."
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Picasso and Málaga
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Baptismal font
the child's baptism). Picasso's names were
Pablo, Diego, José, Francisco de Paula,
Juan Nepomuceno, María de los Remedios
and Crispiniano de la Santísima Trinidad.
The bustling plaza was the place little Pablo
would carry out his activities in, and also the
place where he began outlining his first
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Parish Church of Santiago
A few days later, when the Earth seemed
to be at rest, they returned to their own
house, although just for a short period,
since very soon they moved to a nearby
building at 32 Plaza de la Merced (his
younger sister, Conchita, was born in the
new house in 1887).
drawings. Doves fluttered around him, and
not just the ones from the Plaza del Riego,
but his own doves as well, since Don José
kept a dovecote at home -another nickname
for him was Don José "el palomero" (the
dove breeder). In fact, in 1878, José Ruiz
Blasco had already signed a big painting
whose title was "Palomar" ("Dovecot").
Furthermore, many of Pablo's first drawings
featured doves. No doubt, the environment
had a strong impact on his later work, with
"doves" as recurring subjects, to such
extent that he managed to turn these birds
in the 20th-century symbol of peace round
the world.
Picasso and Málaga
Pablo Ruiz was born in a newly constructed
building facing East, on a land where a
convent had been located. His home was a
part of the so-called Casas de Campos
(Campos' houses), named after their
constructor, Antonio Campos, Marquise of
Iznate, a smart businessman highly
interested in the world of art, so much so that
he included as part of the furniture of his new
houses a series of original paintings by
artists who were friends of his, and he
thought of the most illuminated room on each
floor as a studio, sure that artists would be
settling in Málaga and live in his building.
Picasso and Lola
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As for his mother, María Picasso y López,
she was a slight, vivacious woman, also born
in Málaga. She and her husband belonged to
the liberal bourgeoisie of Málaga City. Her
father, don Francisco, had been educated in
England.
María Picasso y López
The story goes that Picasso's birth in an
October night was quite complicated, and
they even feared for his life just as soon as
he was born due to a violent suffocation.
However the artist's uncle, Salvador, a
medical doctor, managed to control it by
blowing on his wrinkled little face the smoke
from the cigar he was smoking, thus making
him react -and save his life- with a fullsounding and ill-humoured cry. Pablo was
baptised on 10 November 1881 at the Parish
Church of Santiago, on Granada Street (but it
was the priest at the La Merced church,
situated opposite his house, who celebrated
When Pablo was only three years old, in
1884, he witnessed a terrible event: a strong
earthquake which shook Málaga violently.
From his house, located at the Plaza de
Riego, a span away from the Church of La
Merced, he was able to watch how the two
church towers collapsed noisily right before
his eyes. Fearing new earthquakes, the
family rapidly moved from the house at the
Plaza de la Merced -which they did not
consider safe enough- to the nearby home of
the painter and José Ruiz's friend Antonio
Muñoz Degrain, located at Victoria Street,
and apparently better prepared to face a new
swarm of earthquakes. Throughout his life,
Pablo Picasso proved amply his excellent
memory to evoke his childhood in Málaga. He
said to his friend Sabartés many years after,
"My mother had a kerchief on her head,
something I had never seen her wearing
before. My father grabbed his cloak from the
rack, put it over his shoulders, took me in his
arms and wrapped me up leaving only my
head uncovered." But the day of the
earthquake, December 25, would be very
special for little Pablo and the whole family,
not only because of the event itself, but
because on that day, at Muñoz Degrain's
house, his sister Lola was born. The family
used to call her "la terremótica" ("terremoto"
means earthquake in Spanish).
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Although this did not actually happen, he was
right as to Pablo Picasso's future, and so the
Marquise has a place in the artist's history.
(The Marquise's devotion to art and artists
enabled José Ruiz Blasco, on specially hard
financial situations, to pay for the
apartment's rent with his own paintings.)
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Reproduction of the drawing room at Picasso's birth home
At that time, several well-known figures related
to the world of painting used to paint or teach
in Málaga. Without any doubt, all of them
exerted their influence on the talented artist in
some way or another. For instance, Bernardo
Ferrándiz y Badenes, who did not meet
Picasso (he died when Picasso was four years
old) advised his students (afterwards
Picasso's teachers), "Each one should be
oneself," a concept Picasso would believe in
strongly. Thanks to his father, Pablo also met
José Moreno Carbonero and Joaquín Martínez
de la Vega.
Reproduction of the drawing room at Picasso's birth home
Maybe her words reflected motherly love, but
she was only wrong as to the her son's career,
not on the outstanding position he achieved
later. There were reasons for Doña María to
have confidence in her son, since his first
famed painting, made when he was only 8, was
an oil painting under the title "El picador
amarillo" ("The Yellow Picador") or "El pequeño
picador" ("The Little Picador") (1889-1890).
Pablo made many drawings when he was only
a little boy, featuring doves and bullfighting
vignettes. Everything mixed up in his early
sketches: bulls, bullfighters, picadors, and
doves hovering over the bullring. Good
examples of this double thematic interest are
the drawings "Palomas" ("Doves", 1890) and
"Corrida de toros" ("Bullfighting", 1892).
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Picasso and Málaga
Little Pablo used to enjoy hanging about
outdoors. He found delight in watching the
typical characters in the streets, such as the
knife-grinder (with his grinding stone adapted
to move on a wheel), the snow-man (who sold
and delivered ice) or the goat-man (who used
to milk a goat at Picasso's front door).
Sometimes he went to the beach with one of
his uncles, paying special attention to the
activities carried out by sweep-net fishermen,
who used to pull the "copo" over to the beach
from the fishing smacks (the "copo" is a fishing
style practised from the shore, and the sweepnet is both a very long net as well as a very
ancient fishing smack). These activities were
Picasso as a child
However, he never got tired of drawing and
making "monos" (caricatures and drawings made
aimlessly were called that way). One day, looking
at one of those "scribbles", his mother, Doña
María Picasso, foretold his future would be
unique. Her words were "If you are to become a
soldier, you will become a general, and if you are
to become a priest, you will be the Pope."
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Picasso and Málaga
Among the numerous letters that, years later,
Juan Temboury exchanged with Sabartés and
Picasso, there is one addressed to the painter
in which he was told of the opening of the
Málaga Museum of Fine Arts at the Palacio de
Buenavista, where a hall would be dedicated
to the recreation of the Picassos' home: "In the
description of the new halls I would add that a
small place has been kept to set up the
family's dovecote, which has not yet arrived."
This quotation was taken from Rafael
Bejarano's book La sombra de Picasso sobre
Málaga y su museo (Picasso's Shadow over
Málaga and the Museum).
As a schoolboy Pablo Ruiz was not a good
student, absentminded in classroom at all times,
even in kindergarten -the "miga" in the popular
language- at the small school situated in San
Agustín Street. Quite curiously, the school was a
house -still existing- by the Palacio de
Buenavista, now home to the Picasso Museum.
Pablo first attended school when he was five
years old, and even then, as he recalled later, he
spent all the time drawing spirals. And he was
always the same, for instance, at the Colegio de
San Rafael, on Comedias Street, which Pablo
would attend by force. There, an inexplicable
sense of terror crawled over him during the hours
that he felt he was "cooped up," because he was
sure that one day they would forget about him
and his good old nanny Carmen would not pick
him up to take him back home. In fact, he would
put in practice very strange tricks as, for example,
"steal" something from his father so that when he
missed what he had been robbed of he would
have to come over to get his stuff back.
Archive. Picasso Foundation
But what little Pablo really liked was going to
his father's studio at the Academy of San
Telmo, "a room just like many others, with no
special features," according to Picasso's
words as an adult. He recalled that the place's
atmosphere had always caught his attention.
The fact is that the artistic ambience, beyond
the familiar setting, was always present in the
painter's life since his early years.
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quite different from those his friends used to
enjoy. Many years after, Pablo Picasso
confessed that "I am the only child who has
never ridden a bicycle. All I was interested in
was painting."
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Picasso also attended some special events in
Málaga's bullring, like the one held in August
1887, when La Malagueta was illuminated for the
first time with floodlights, and featured several
musical bands as part of the commemoration of
the 400th anniversary of Málaga's "Reconquista".
Concerning doves, some years later, when he
was living in his villa La Californie, Picasso
recreated a dovecote resembling the one in his
Málaga home. He appears in many photographs
of that period taking care of the "inhabitants" of
the dovecote in the attic.
a well-known jewellery which his father used to
visit. He also attended social gatherings at the
Mamely's back room, situated in the corner with
the Plaza de la Merced.
There were other places in the Málaga of the end
of the century his father used to attend. The
capital city of the province of Málaga was proud
of having some appropriate places for its erudite
and well-off bourgeoisie, such as the Sociedad de
Ciencias (Society of Sciences), the Círculo
Mercantil (The Commercial Association), the
Conservatorio de Música (Music Conservatoire),
the Sociedad Económica de Amigos del País
(Economic Society of the Country's Friends), the
Sociedad Filarmónica (Philharmonic Society) and
two main theatres: Principal and Cervantes.
Vicente Espinel Institute
who sang while he drove and would reduce the
speed or accelerate (sic) the vehicle according to
whether his song was cheerful or slow, while he
rang the bell rhythmically."
Far away from Málaga, Picasso recalled later,
along with friends and guests, the ambience of
the town where he spent the first decade of his
life. For example, the bustling Granada Street
(previously known as Real), which was so close
to his house and where a relative of his,
Baldomero Ghiara (father of his cousin Amalia,
to whom he dedicated his painting
"Evocaciones" ("Evocations"), was the owner of
In September 1891, when Picasso was only 10
years old, there was a turning point in his life.
Little Pablo and his family left the warm Málaga
atmosphere and sailed to La Coruña, on the
north-west of Spain. His father, José Ruiz Blasco,
had accepted a job there as a drawing teacher at
the School of Fine Arts after the Málaga City
Council reduced the budget allowance for the
position of "curator" which he held at the
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Cervantes Theatre
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Chinitas Passage
Picasso and Málaga
But as the child grew up, besides his preference
for bulls and doves, he was increasingly attracted
by and was passionate about other subjects
which deserved to be drawn or painted. Thus,
when he was only nine years old, he depicted the
luminous Málaga sea in a "marina" entitled "Vista
del puerto de Málaga" ("View of the Port of
Málaga", 1890), similar to one painted by his
father. You can also admire a drawing dated that
year which has been preserved, featuring
Hercules, the mythological hero, known as
Granada Street
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At the institute located on Gaona Street currently known as Vicente Espinel- his
devotion to studies did not improve very much.
Despite this, many years later, on one of the
walls of the institute's patio there was a plaque
reading that a student named Pablo Ruiz
Picasso registered at the school and passed his
intermediate exams. In fact, other students who
later became outstanding in different fields also
studied in that school, such as the Medicine
Nobel Prize Severo Ochoa.
The common people and the middle class also
had their meeting and entertainment places, such
as the Café-cantante de Chinitas (a place José
Ruiz Blasco did not fail to attend), Café del Turco,
small inns such as Flores, at La Caleta (where
famed flamenco performers from Málaga, such as
Rita Ortega and Juan Breva, used to play or
dance), or the renowned Venta Guijarro. Picasso
shared all these recollections with his friends, like
Jean Cocteau, who stated the following with
reference to some phrases coming from Picasso:
"Picasso is from Málaga. He told me, trying to
offer a distinctive characteristic of his hometown,
that he recalled having seen a tram-car driver
Picasso and Málaga
"Hercules con su maza" ("Hercules with His
Mace"). According to Picasso's recollections, this
was a copy of a painting exhibited in a room at his
father's house in Málaga.
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His passion for bulls -and doves- was handed
down by his father, a great fan of the "fiesta
brava" (bullfighting), especially because the
people in Málaga were able to enjoy a new
bullring known as La Malagueta. (Christine Ruiz
Picasso wrote: "the bullring was a privileged
place where father and son could feel the
Spanish blood running down their veins.") At the
new 'coso' (inaugurated in 1876), the would-be
artist had the chance of watching, along with his
father, the bullfights where the main matadors at
that time -Lagartijo and Guerrita, among othersmade their performances. In 1932, the writer
Ramón Gómez de la Serna wrote, "In Málaga,
Picasso's home town, I learnt what he is, and I
understood up to what an extent he is a real
torero and how what he does is like bullfighting."
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Santa Clara
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Picasso and Málaga
Pablo Picasso, spent most of their time. Pablo
drew portraits of his comrades and the
tavern's patrons in charcoal-pencil which he
nailed to the wall and then put on sale. He
also made drawings for some magazines,
such as Juventud and Cataluña artística. He
returned to Málaga from bustling Barcelona at
the end of 1900 to rejoice in the upcoming of
the new century.
At the beginning of the 20th century, Málaga
was already receiving visitors who came
attracted by its mild weather. Thus, every year,
thousands of tourists came in search for the
well-known Málaga's sun and the beautiful
nearby mountains. In late 1900, Picasso came
to Málaga with his friend Carlos Casagemas,
who was also a painter. They travelled to
Málaga in an attempt to leave an unhappy love
affair behind, namely the truncated
relationship with Germaine, a model working
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Salvador even found a "model" for his nephew, an
old seaman known as "Salmerón", who posed for
the young artist. Not surprisingly, Salvador was
Pablo returned to Málaga on many other
occasions after moving to Barcelona with his
family in September 1895. They soon adjusted
to life in the new city, especially Pablo, who
saw in Barcelona the possibility of new
horizons for his artistic career. Some years
later, the critic Gaya Nuño would compare
Picasso's arrival in Barcelona to "something
like putting a mouse into a cheese." There,
Picasso breathed the pervading spirit of
modernism and was able to witness the city's
transformation at the turn of the century. Very
soon he got acquainted with Catalan artists,
especially with the members of "Els Quatre
Gats" (The Four Cats), a modernist tavern
where practically every bohemian, including
Larios Street. 19th century
Picasso and Málaga
The main addressee of his news from Galicia,
apart from the women mentioned above, was
his uncle Salvador Ruiz Blasco, Sanitary
Director of the Port of Málaga, who tried to
make his nephew stay in Málaga City. To
accomplish this he even paid him a salary (five
pesetas per day) and ceded him a spacious
room at the port offices to be used as a studio.
When he spent summer in Málaga in 1895, he
succeeded in persuading his aunt Pepa Ruiz
to pose for him. She was the irascible old
spinster of the family, a tough "model" due to
her intemperate character. This is how "La tía
Pepa" ("Aunt Pepa") came to life. Intrinsic
virtues notwithstanding, the painting
anticipates the compulsive tendency Picasso
would further develop in his painting, since it
was completed in only one hour. At the same
time, and taking advantage of his stay in town,
he found his first "girlfriend": his cousin
Carmen Blasco, with whom he was seen
walking along the Alameda and La Caleta. The
family's trips to Málaga were not real holidays
for Picasso, he took every opportunity to paint
about specific themes related to his
hometown. For example, the following summer
in Málaga, in 1896, he painted "Una cantera"
("A Quarry"). Two years later, he sent
"Costumbres de Aragón" ("Aragon Traditions")
to Málaga, painted when he was recovering
from scarlet fever in the village of Horta del
Ebro, Tarragona, where he had been invited by
his friend Manuel Pallarés. The painting was
awarded a prize in Málaga.
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the first to learn about Pablo's first exhibition in La
Coruña, when he was only 13. The art show was
staged in an umbrella store, and it was not very
successful, despite the fact that some of his
drawings depicted his Galician friends, who had
accepted to pose for him.
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Municipal Museum. This abrupt geographical and
climatic change, from the luminous and sunny
Málaga to the humid and misty Galician capital
city (later made even harder to bear when his
younger sister, Conchita Ruiz Picasso, died
from diphtheria in 1895), urged his father to try
to alleviate the nostalgia for his home land
travelling to Málaga for whatever reason he
could think of: holidays, Christmas season,
etc. His son also felt nostalgia for his town, his
relatives and friends, and to "heal" himself, he
"published" some handwritten booklets entitled
La Coruña and Azul y Blanco, which he used to
send to Málaga informing everybody of his life
more than a thousand kilometres away. In
these "letter-journals" he referred to petty
everyday events and activities, for instance,
that his best model is his sister Lola, or the
well-stocked topic of the rainy weather.
Besides his aunt and uncle, and other
relatives, the addressees of his nostalgic
confessions from the far northwest of Spain
were "his women." As if anticipating the future,
even during his childhood, Pablo Ruiz Picasso
was surrounded by women. As to the ones in
Málaga, we can mention his aunts, Heliodora
and Eladia, his mother, his grandmother Inés,
his cousins, and the nanny who used to take
him to school, Carmen Mendoza, who would
be one of his first "models"…
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Getting established in Paris and becoming
famous were almost two parallel events. Soon
after he moved there, Picasso abandoned the
bohemian life and thus no longer underwent
financial hardships. First, he settled at the
Bateau Lavoir (sort of artist community in
Montmartre), but moved houses and even
cities quite often, living in Monte Carlo,
Cannes and Nice. When World War II broke
out, he was working in Paris. Later on, he
moved to Vallauris and finally to Mougins.
This café, with its spectacular mirrors and bullfighting
gatherings, was captured by Casagemas in a
beautiful drawing in charcoal-pencil, signed in
Málaga and entitled "Café de España".
The artist received them warmly, giving them
some money and even offering his own gallery
in Paris for an exhibit of their own. However,
had been working in what would be his last
painting: "Mujer desnuda acostada y cabeza"
("Naked Lying Woman and Head"). On April
10, Pablo Ruiz Picasso was buried in the
grounds of the Vauvenargues chateau.)
France, his adopted country, filled him with
honours, but Picasso never forgot his own
country. His innumerable works mirror once
and again his recollections of Spain and
Málaga, distant in time but very close to his
heart. If it were not so, it would be impossible
to understand his great ideological
masterpiece, "Guernica". Picasso never
stopped going back to Spanish themes in his
works till the day of his death on April 8, 1973,
in Mougins. (In December of the previous year,
he had an ill cured bout of influenza, which led
to a lethal lung oedema. The night before he
.
Guernica
chapter
index
.
16
Picasso, 1954 (Vallauris)
Picasso and Málaga
San Telmo School of Fine Arts
On some occasions, Picasso received visitors
from Málaga. In 1956, he was visited by the
first "pilgrims", a group of young artists from
Málaga who had founded Montmartre Group in
the provincial capital city. Willing to meet their
prestigious compatriot, they travelled to
Cannes, where Picasso was staying.
At twenty, Picasso arrived in France ready to
conquer. Alongside Braque he launched
cubism and, later, other 'isms' of his own
creation. He would also meet the women of
his life, marrying both his wives there, as well
as his best friends, who themselves
numbered from amongst the great 20th
century names in art and culture. With his
first wife Olga Kokholva, he had his first child
Paulo, and with his second, Jacqueline
Roque, adopted her daughter, Cathrine
Hutin. His lovers included: Eva Gouel, Marie
Thérèse Walter – mother to Maya – Dora
Maar and Françoise Gilot - mother to Claude
and Paloma. Picasso’s many talented friends
cover a full list of the best artists, writers and
musicians of the 20th century.
.
.
Even though he would never come back to
his hometown, Málaga was always in his
mind, as was evident in his favourite remark
when he felt melancholy or was in a bad
mood: "Out with Málaga, out with bulls and
all that crap!" The remark had been his
father's, who used to say it when he felt
nostalgia for the Andalusian town.
they declined the generous offer and went
back to Spain. Grateful for the meeting's
outcome, they decided to change the group's
name to Picasso Group. Some of the "pilgrims"
were Gabriel Alberca, José Guevara, Alfonso
de Ramón, and Virgilio and Vicente Serra.
Some others joined the group later, such as
Alicia Muñoz, Enrique Brikmann, Eugenio
Chicano, Manuel Barbadillo. The group broke
up in 1964.
Picasso and Málaga
Shortly afterwards, he left Málaga for Madrid,
no longer travelling with Casagemas. He tried to
make his way there, and he registered at the
San Fernando Academy of Fine Arts, although
the only recollections of his visit to Spain's
capital city was its unbearable cold weather.
From Madrid, he returned once again to
Barcelona, and from there he travelled to Paris,
where he finally settled in 1904.
CONVENTION BUREAU
for his friend Ramón Pixot. Casagemas and
Picasso painted her in "Germaine". The two
bohemian artists tried to rent a room at the
Tres Naciones boarding house, being rejected
at first for their careless and not very
conventional appearance. During this stay,
Pablo and his friend frequently visited Café
España, situated at the Plaza de la Constitución,
in the corner with Compañía Street, a span from
the San Telmo School of Fine Arts, where Pablo
Ruiz had been many times before when his
father's studio was there.
17
TOURIST BOARD &
2.2. gRATITUDE FROM
chapter
index
.
Picasso and Málaga
.
Picasso in Villa "La Galloise". Vallauris, 1954
.
Picasso in Spain
The inauguration of the "new" Museum of
Fine Arts -located before at the San Telmo
building on Compañía Street- was
celebrated on August 20, 1964, with the
inclusion in this new art gallery of four
rooms entirely dedicated to the illustrious
compatriot Pablo Ruiz Picasso. It was at the
Buenavista Palace, on San Agustín Street,
home to current Picasso Museum. Among
some of the artist's masterpieces (aquarelles,
drawings, lithographs, ceramics) there were
Picasso and Málaga
.
18
Málaga has crowned its recognition
to Picasso with the inauguration of this
fantastic museum which summarises
perfectly well all the artistic and personal
career of the talented artist. Careful steps
had been taken to bring Picasso's works
back to his home town. A few years after
leaving town, during one of his trips from
Galicia, the painter Martínez de la Vega
(together with other artists and some
onlookers) presided over a ceremony held
at the Liceo Artístico y Literario (Artistic and
Literary School), at which Pablo was
"baptised" with champagne. Martínez de la
Vega, acting as a prophet's apprentice, bet
on a glorious future for his very young pupil
and colleague. The ceremony was held to
celebrate Pablo Ruiz's success in 1897 (he
was only 16 years old), when his painting
entitled "Ciencia y caridad" ("Science and
Charity", formerly known as "La visita a la
enferma" or "Visiting an Ill Woman") that
Gratitude from his hometown
HIS HOMETOWN
featured his own father, Don José, as
model, was awarded twice: in Málaga
(golden medal) and in Madrid (honourable
mention at the National Exhibition). This
was the recognition of the veteran teachers
to a promising young, a former pupil of
some of them, to whom they all foretold a
brilliant future.
This prediction will turn a reality with this
great museum in Málaga which holds in its
prehistory the Museum of Fine Arts of the
town (to be reopened soon, but just for
temporary exhibitions) which had incorporated
to its few Picasso paintings, besides some
painted in his childhood and adolescence,
others coming especially from the Sabartés
Bequeathal, a wide collection of valuable
books and writings about Picasso and his
work published all around the world. Later
on, Sabartés kept on sending new
publications to enrich the museum's
collection. The continuous contributions of
Jaime Sabartés to the Málaga Museum of
Fine Arts increased the presence of the
painter in this museum.
CONVENTION BUREAU
The King and Queen of Spain at the inauguration of Picasso's
birth home as Historic-Artistic Monument of National Interest.
Málaga, 1983
two paintings made in his childhood and
adolescence. One of them was an oil
painting, "Evocaciones" ("Evocations"), and
the other one, an aquarelle entitled "Retrato
de don José" ("Portrait of Don José", also
known as "El viejo de la manta" or "El padre
del artista", "The Old Man with the Blanket"
or "The Father of the Artist"). On the former
there's a legend: "To my dear cousin
Amalia/P.Ruiz/94", dedicated to Amalia
Ghiara Picasso, who married later to
Federico Sierra, who donated this painting
to the museum. As to the other famous
painting (the aquarelle), the legend is
longer. An English translation of this legend:
"To my dear D. Antonio Muñoz Degrain; your
affectionate P. Ruiz Picasso sends you this
as Easter present/12-95". And just as Mr
Sierra did with "Evocaciones", the owner of
"El padre del artista" handed over the
masterpiece for the Picasso sector of the
Buenavista Palace. However, there are
other paintings from Picasso's early period
which were not exhibited at the museum,
such as the one dated 1895 (currently in
Málaga, as part of a private collection)
entitled "La Gitana" ("The Gypsy").
19
TOURIST BOARD &
Later, in 1961, in return to a present
received from Temboury, Pablo Picasso sent
to Málaga a drawing representing a dove
which he did not sign with his universally
renowned name, but humbly as "the son of
Don José Ruiz Blasco."
.
But the definite step for Picasso's reencounter with his fellow-countrymen was
taken in 1992, with the magnificent
exhibition "Classic Picasso". It was at the
following exposition, "Picasso. First look.
Christine Ruiz-Picasso's Collection" (19941995), that his home town could admire the
colossal work by a small child son to Ruiz
Blasco, born in October 1881. The final
move was made in 1998, when two of Pablo
Picasso's relatives, his daughter-in-law,
Christine Ruiz-Picasso and his grandson,
Bernard Ruiz-Picasso, together with the
representatives of the Government of
Andalusia, made the official presentation of
the Picasso Museum in Málaga at the
Buenavista Palace.
.
Interior of the birth house
chapter
index
.
20
In October, a full range of cultural and
artistic activities are held, the perfect
excuse to renew every twelve months a
homage to the artist through exhibitions,
conferences, symposiums, music festivals,
and other various popular celebrations. It
was precisely in October 2003 that the
Picasso Museum in Málaga opened its
doors to the general public.
Picasso and Málaga
Picasso and Málaga
All these events constituted, in very difficult
times, the first attempts to recover Picasso
for his own people. However, there was a
turning point, marked by Picasso's death on
April 8, 1973. After his death, the first big
step was taken in 1983 with the declaration
of the painter's birth house as HistoricArtistic Monument of National Interest. A
second one followed in February, 1988,
when the Foundation Pablo Ruiz Picasso
was established by the Málaga City Council.
Finally, on February 20, 1991, the building
at Plaza de Merced was incorporated to the
Spanish Museum System. Since then
Málaga has had a documentation centre
which is an essential tool to all those who
are interested in the life and work of Pablo
Ruiz Picasso. Near the Birth House
Foundation the so-called "Picassian
Octobers" emerged, since the painter was
born in October.
.
Málaga would always remember Picasso
despite the distance between them and the
passage of time, even before the opening of
the four dedicated halls at the Museum of
Fine Arts, thanks to some of the artist's
unconditional friends living in Málaga. In
one of the first issues of the Litoral
magazine dedicated to the poet Góngora in
1926, a still life was published especially
created by Pablo Picasso to be printed in
Altolaguirre and Prados's magazine.
Furthermore, in 1931, young Juan Temboury
wrote an enthusiastic panegyric entitled
"Málaga and Picasso, the Painter" for a
local newspaper.
1962, the poet Alfonso Canales
along with some friends a
the Málaga-born painter which
Ronda.
Other paintings -some painted in Málaga or
depicting themes or characters typical of
Málaga- are "Estudio de viejos" (also known
as "Pareja de ancianos" or "Old Couple"),
"Retrato de Paco Boigas" ("Portrait of Paco
Boigas"), "Retrato de Paco Palma" ("Potrait
of Paco Palma"), "Joven con bombín"
(Young Man with Bowler Hat"), "Búhos"
("Owls"), "El durmiente" ("The Sleeping
Man"), "Mujer y niña" ("Woman and Girl"),
"Bacanal" ("Bacchanalia"), "Cartel de
presentación" ("Poster") , "Bodegón" ("Still
Life"), "Fauno" ("Faun"), "Toros en el
campo" ("Bulls in the Countryside),
"Tauromaquia" or "Arte de torear"
("Tauromachy" or "The Art of Bullfighnting"),
"Jarra" ("Jug")...
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Besides, in
organised
homage to
was held in
21
Antonio, the dancer, at Picasso's 80th birthday
The last years of Picasso's life and soon after his
death there was an "avalanche" of adhesions to
the great master. Everyone wished to hold him
near thus baptising with his name institutions,
promenades, plazas, hotels…
Even during the recent ferias (our big
popular celebrations), the big arch, which is
the entrance to the day fair, located on
Larios Street, is an allegoric homage to
Pablo Picasso from another great artist from
Málaga: Eugenio Chicano. There is some
connection between this exaltation of the
illustrious compatriot with the sincerity of
something the artist said back in 1936,
disturbing but passionate as is the rest of
his work: "I was the son of a white father
and a small glass of water of Andalusian
life. I was the son of a mother, daughter of a
fifteen-year-old girl, born in Málaga in the
Percheles district, the handsome bull that
crowns my head with jasmines."
Three years after Picasso's death, in 1976,
the Málaga-born sculptor Miguel Berrocal
set up in one of the new gardens named
after the talented artist his "monument" to
Picasso ("El beso" or "The Kiss"), a
sculpture weighing eight tonnes.
ojos negros toro
Eyes black bull.
Ojos.
Eyes.
Son el con y el sin
They are with and without,
son el sin y el con
They are without and with.
Con esto y sin esto,
With this and without this,
traspuestos y opuestos
Transposed and opposed,
denuestos, molestos
Insulting, upset,
el sumo y el resto
Addition and subtraction
Picasso and Málaga
.
By that time Picasso was a living genius who
watched the world and his own life through the
same restless and deep look as he had done
when he was a child in Málaga. In 1968, his friend
from Cádiz, the poet Rafael Alberti, wrote the
well-known verses "Los ojos de Picasso"
("Picasso's Eyes") in Rome:
Alberti
Picasso and Málaga
"El beso" ("The Kiss", 1976), by Miguel Berrocal
.
.
Eyes blue bull,
.
22
Ojos toro azul
Picasso in his studio, looking at his birthday presents
CONVENTION BUREAU
TOURIST BOARD &
chapter
index
23
bIBLIOGRAPHY
. PICASSO.
Roland Penrose. Editorial Salvat. 1988.
. PABLO PICASSO. VIDA Y OBRA.
Elke Linda Buchholz/Beate Zimmermann.
Könemann. Köln 1999.
. PICASSO PRIMERA MIRADA. (Catálogo).
Centro Andaluz de Arte Contemporáneo.
Madrid 1995.
. DICCIONARIO DE PINTORES Y
ESCULTORES ESPAÑOLES.
Fórum Artis 1998.
. HISTORIA DEL ARTE. VANGUARDIAS
ARTÍSTICAS.
Editorial Salvat. 1991.
. LOS SURREALISTAS.
William Gaunt. Editorial Labor. Barcelona 1974.
. SUMMA ARTIS. ENCICLOPEDIA GENERAL
DEL ARTE.
Editorial Espasa-Calpe. Madrid 1999.
. LAS CALLES DE MÁLAGA.
Francisco Bejerano. Editorial Arguval.
Málaga 1984.
3.
pICASSO'S MÁLAGA
3.1 MÁLAGA AND PICASSO
3.1.1 BIRTH ROUTE
3.1.2 COMMERCIAL ROUTE
3.1.3 ROUTE OF TEMPLES
3.1.4 THE CLERGYMAN’S ROUTE
3.1.5 GREEN ROUTE
Picasso's Málaga
3.1.6 ROUTE OF CIVILIZATIONS
3.2 MONUMENTS AND MUSEUMS GUIDE
3.3 TAPAS’ ROUTE
3.4 SHOPPING IN THE TOWN CENTRE
.
.
Picasso and Málaga
.
Bibliography
2.3.
. VIDA COTIDIANA EN MÁLAGA A FINES DEL
SIGLO XIX.
Antonio Albuera Guirnaldos. Editorial Ágora.
Málaga 1998.
. PERSONAJES EN SU HISTORIA.
Edición de Miguel Alcobendas. Editorial
Arguval. Málaga 1986.
. LA SOMBRA DE PICASSO SOBRE MÁLAGA
Y SU MUSEO.
Rafael Bejarano Pérez. Editorial Sarriá.
Málaga 1997.
. GUÍA HISTÓRICO-TURÍSTICA DE MÁLAGA.
Rosario Camacho. Editorial Arguval.
Málaga 1992.
. LA BARCELONA DE PICASSO.
Carlos Rojas. Plaza&Janés. Barcelona 1981.
. MEDIO SIGLO DE VIDA ÍNTIMA
BARCELONESA.
Mario Verdaguer. Editorial Barna.
Barcelona 1957.
. HISTORIA DE LA CULTURA. H.L.
Mikoletzky. Editorial Labor. Barcelona 1966.
. GUÍA SECRETA DE MÁLAGA.
Rosa Pedrero Morán. Ediciones Júcar.
Barcelona 1993.
. LA COSTA DEL SOL DE MÁLAGA.
Elena Villamana/León Sanz Jiménez.
Ediciones La Garza. Málaga 1960.
. RUTAS DE ESPAÑA.
Ministerio de Información y Turismo.
Madrid 1967.
. LOS AÑOS LOCOS (1918-1939).
José Montero Alonso.
Coleccionable de la revista Semana. Años 70.
. MUNDO HISPÁNICO. Número Extraordinario.
Arte Hispánico Contemporáneo.
Madrid 1955.
24
index
25
Although Pablo Ruiz Picasso left
his hometown as a child, the talented artist
never ceased to reflect in his paintings the
incredible luminosity of his land.
Now, thirty years after his death, his figure has
been definitely recovered as main symbol of a
town that has dedicated the best and most
attractive museum the world over to its most
illustrious son. This museum is situated very
close to the house where he was born.
3.1.
mÁLAGA AND
PICASSO
PLAZA DE LA MERCED
PICASSO'S BIRTHPLACE
CERVANTES THEATRE
3.1.5 GREEN ROUTE
.
SAN RAFAEL SCHOOL
chapter
.
Palast der Grafen von Buenavista. Picasso-Museum
Picasso’s Málaga
In the surroundings, you will also have the chance
of admiring the splendid Instituto Gaona (7) and
the Colegio de San Rafael (8), where the
pioneer of contemporary painting learnt what
occupations he would discard for his future while
he started to feel attracted by art.
GAONA INSTITUTE
Picasso’s Málaga
.
PICASSO MUSEUM
.
26
Tourists will be able to quickly spot the
museum, which is clearly connected with the
soul of a passionate and exciting population.
If you have already visited the
museum and wish to take a self-guided walking
tour around the town centre, the first interesting
option could be the Birth Route starting at San
Agustín Street (1) and Granada Street (2).
Here you will find some fascinating buildings
such as the Iglesia de Santiago (3) (Church of
St James) dating from the late 15th century,
where Picasso was baptised. It has a distinctive
Moorish tower. This circuit, most of which is
exclusively for pedestrians, offers a wide variety
of old and new bars and restaurants which
preserve the traditional Andalusian atmosphere,
as is the case of the Casa El Piyayo, La Posada
and El Pimpi, all of them offering an incredible
variety of delicious tapas, generous helpings
and fine seafood. This route also leads to the
Plaza de la Merced (4), the site with the
deepest material and emotional links with
Picasso. In these surroundings you will not only
discover the house where the artist was born
(5), but also the obelisk which commemorates
General Torrijos and his liberal companions'
execution by the absolutists in 1831. Just a
hundred metres from there you will be surprised
by the majestic Cervantes Theatre (6) (Plaza
de Jerónimo Cuervo), a remarkable public
building dating from the 19th century and home
to the Ciudad de Málaga Orchestra as well as to
the film, theatre and jazz festivals which are
regularly held in this town.
Birth Route
Málaga and Picasso
3.1.1 BIRTH ROUTE
The Counts of Buenavista Palace (San Agustin
Street) is home to the museum, ranked second
among those dedicated to the artist, after the
one in Paris. It is located in the heart of a
populous, vital district boasting an outstanding
architectonic, social and cultural tradition.
TOURIST BOARD
& CONVENTION BUREAU
3.1.1 BIRTH ROUTE
index
27
TOURIST BOARD
& CONVENTION BUREAU
BIRTH ROUTE
Cervantes Theatre
Municipal theatre that is both an artistic
and social centre.
The ceiling paintings by Ferrándiz are
particularly noteworthy in the building's
interior.
Picasso's birth place
The place where Picasso was born.
In 1988, this building became
headquarters of the Picasso
Foundation.
Instituto Gaona
This 18th-century building was once a
convent where Picasso studied.
Iglesia de Santiago
Almihara minaret
The tower is a perfect example of
the church's original Mudéjar style. It
is crowned by a dome covered with
glazed tiles.
Start of route
End of route
Suggested route
.
Birth Route
San Agustín Street
This is one of the best preserved streets
from Moorish and Renaissance Málaga.
Part of the atmosphere is owed to the
street's teahouses and taverns.
Basic map provided by Turespaña
.
.
Picasso’s Málaga
SIGNS AND SYMBOLS
28
Picasso’s Málaga
Plaza de la Merced
This plaza was an amphitheatre during
the Roman period, and it has always
played a special role in the history of
the city.
In 1489, it was turned into a public
market, and buildings began to spring
up around it.
.
Granada Street
This street gives a distinct feeling of history.
It is lined with houses and palaces from the
18th century and bourgeois residences from
the 19th century.
Birth Route
Colegio San Rafael
C/ Comedias, 18.
An old private school attended by Picasso
when he was a 6-year-old boy. The
building is now a private residence.
chapter
index
29
PLAZA DE LA CONSTITUCIÓN
Heading southwards from Plaza de la Constitución,
the most important street of the capital city of the
Costa del Sol ends in a small garden featuring a
monument honouring the Marquis of Larios (5).
From there, you will also get a good glimpse of the
Plaza de La Marina (6).
This plaza used to witness festivals, executions,
religious ceremonies and bullfights. Its current
design is considerably different from what it used
to look like seven centuries ago, since it was
renovated in the 19th century and it became part
of the urban setting.
Just a stroll away, you will find Larios Street (3),
a distinctive symbol of 19th-century Málaga, for a
new urban planning was designed that perfectly
matched modern ideas coming from the rest of
Europe. The original plan consisted in joining the
interior of the town with the port and improving the
surrounding infrastructures, an initiative which
attracted several architects and engineers
through 1886, when the Sociedad Mercantil Hijos
de Martin Larios (Martin Larios's Sons Co.)
decided to support the project. Through one of
the side streets, you can reach the Pasaje de
Chinitas (4). In the 19th century, the famous
Chinitas Café-concert was the centre of the
bohemian and artistic life in Málaga.
This street and the ones surrounding it host the
highest number of coffee houses, bars and
traditional inns per square metre. The most
important ones are
- Antigua Casa Guardia (Alameda St.)
- Orellana (Moreno Monroy St.)
- La Cosmopolita (Larios St.)
- Cafeteria Lepanto (Larios St.)
- Gorky (Strachan St.)
- Café Central (Santa Maria St.)
- Chinitas (Moreno Monroy St.)
PLAZA DE LA MARINA
Of course, traditional food can be savoured in the
area. You will find dozens of tapas bars and come
close to one of the most traditional delicacies of
Málaga and Andalusia. However, "tapas" (a wide
selection of bite-size snacks) are the most
famous, delicious and enjoyable foods of
southern Spain.
CATHEDRAL
.
.
Picasso’s Málaga
MONUMENT TO THE MARQUIS OF
LARIOS
30
Picasso’s Málaga
CHINITAS CAFÉ-CONCERT
The Plaza de la Constitución (1) is considered
even today as the most emblematic square in
Málaga City. It started just as four adjacent streets,
and in the Middle Ages some of the main buildings
of that time were there, such as the prison, the
Town Hall, butcher's shops, the Courts, the Casas
del Cabildo (Assembly Halls) and the renowned
San Telmo School of Fine Arts (2), where
Picasso's father used to work and which he visited
on countless occasions as a child.
The buildings along that street, which was soon
transformed into the cosmopolitan commercial
heart of the town (along its 400 metres, walked
along by almost all the town residents every day,
you will find dozens of shops), resemble the
famed Chicago School. The architect Eduardo
Strachan designed both the structure and height
of the properties.
.
.
SAN TELMO
SCHOOL OF FINE ARTS
The second option, the Commercial
Route, runs straight down to the Plaza de la
Constitución and Larios Street.
Commercial Route
Commercial Route
PLAZA DEL OBISPO
TOURIST BOARD
& CONVENTION BUREAU
chapter
index
31
TOURIST BOARD
& CONVENTION BUREAU
COMMERCIAL ROUTE
Plaza de la Constitución
This has been the heart of the city since
the 15th century.
The Génova fountain is the plaza's
original fountain.
San Telmo School of Fine Arts,
where Picasso's father was a
professor. The building is currently
being renovated. When completed,
it will house the headquarters of the
Málaga Athenaeum.
Larios Street.
In the busy centre of the city.
Remarkable about this street is the
homogenous 19th century architectural
features of all the buildings.
.
End of route
Suggested route
.
.
Picasso’s Málaga
Start of route
32
Picasso’s Málaga
SIGNS AND SYMBOLS
Marqués de Larios Monument
Dedicated to the Marquis of Larios, and
created in 1899 by Benlliure, this monument
was the city's way of showing its gratitude to
such an important man.
.
Plaza de la Marina
An urban space since the middle of the
19th century, this plaza was recently
remodelled.
The old Muslims' walls rose here.
Commercial Route
Commercial Route
Chinitas Passage,
(Café-concert plaque)
This narrow street was home to the
famous café-concert which Picasso's
father used to visit. The street still has
a Bohemian flavour.
chapter
index
33
TOURIST BOARD
& CONVENTION BUREAU
PLAZA DEL OBISPO
CATHEDRAL
So this is the starting point of this tour ending at
the nearby Cister Street (2), presided by the
gracious beauty of the Cathedral, considered as
one of the great religious constructions of the
Andalusian Baroque style. On Cister Street you'll
also find the Abbey of Santa Ana (3) in the
Convent of the Cistercian Order. Besides being
able to admire some refined religious objects and
nice Baroque paintings, you can taste exquisite
sweets based on millenary recipes that are made
in the convent.
.
From the Cathedral, where you can get a glimpse
of two traditional places offering breakfast,
afternoon snacks and tapas, you come directly to
the Church of the Sagrario (4), by the
Cathedral. This church, built in the 15th century,
features a splendid Gothic-Elizabethan front and
a remarkable Mannerist altarpiece by Juan de
Balmaseda in the church's interior.
.
BANK OF SPAIN
Bank of Spain and Town Hall
.
.
34
Picasso’s Málaga
Picasso’s Málaga
The Cathedral's (5) construction began in 1528,
in charge of the architects Diego de Siloe and
Enrique Egás, although the original floor plan was
designed and its construction had started some
time before. The impressive main façade is
behind the colonnade. It features two storeys and
three entrances. The building works took almost
three centuries (from 1487, official consecration
date, to the year Ventura Rodríguez was in
charge, in 1764). The building displays a very
singular characteristic: one of its towers was left
unfinished, this is why it is known as "La
Manquita" (one-handed).
Route of Temples
Route of Temples
To follow the third route, the Route
of Temples, you must start in San Agustin
Street (1), where you'll find the main entrance
of the Picasso Museum. If you like Moorish and
Renaissance art, you'll find this street very
attractive. Several bars and teahouses
established over the last years have created a
traditional atmosphere and a noble style that
take visitors on a nostalgic trip to the past, some
five centuries back, when this place started to
change into a neighbourhood for noblemen and
the local elite.
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TOURIST BOARD
& CONVENTION BUREAU
ROUTE OF TEMPLES
Abbey of Santa Ana
Constructed in 1878, this abbey is home
to the Museum of Religious Art.
The museum shows sculptures by Pedro
de Mena, whose atelier was located in
the patio-house right opposite the abbey.
Church of El Sagrario
This church features a magnificent
façade. It was built in 1514 and
reconstructed in 1714.
Císter Street
This street got its name from the
Cistercian Abbey.
At one time, residences of the local
noblemen were located on Císter Street.
Patio de los Naranjos
(Cathedral)
The construction of the Cathedral
took nearly three centuries, and
one of its towers is unfinished.
SIGNS AND SYMBOLS
Cathedral (exterior)
One of the greatest Baroque religious
constructions in Andalusia.
Its beauty is particularly remarkable
when it is lit up at night.
Start of route
End of route
Suggested route
Picasso’s Málaga
.
.
Picasso’s Málaga
.
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36
Route of Temples
Route of Temples
San Agustín Street
This is one of the best preserved streets
from Muslim and Renaissance Málaga.
Its particular atmosphere comes from the
street's teahouses and taverns.
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TOURIST BOARD &
CONVENTION BUREAU
T he Cathedral's façade unfolds
majestically to the left, towards the sea, with
the magnificent Plaza del Obispo (1) just in
front, a magnet for visitors interested in
culture.
PLAZA DEL OBISPO
.
38
chapter
index
.
Larios Street
Picasso’s Málaga
Picasso’s Málaga
The properties around the area are quite
expensive because of the privileged location
and proximity to the port, where you can get
following Molina Lario Street. This popular
street takes you to the Plaza de La Marina (3)
with an impressive building, home to the
Provincial Government of Málaga and various
coffee houses, bars and fast-food sites
(among the latter, the most crowded
McDonald's in Andalusia) which attract both
European and American tourists.
.
.
CATHEDRAL
The Clergyman’s Route
The site does not only mingle perfectly with the
ecclesiastic atmosphere which fills the air, but it
also gives shelter to a beautiful fountain made of
stone. The Episcopal Palace (2), from the 18th
century, has been appropriately transformed into
an exhibition hall and there you'll find the
Diocesan Museum. In the heart of this square
there are several sites where you can taste tapas
and have a drink, being Cheers the most famous
one and almost as renowned among both tourists
and residents as the one featured on the
American television series.
39
TOURIST BOARD
& CONVENTION BUREAU
THE CLERGYMAN’S ROUTE
Start of route
End of route
Suggested route
Plaza de la Marina
An urban space since mid 19th century, this
plaza was recently renovated.
In the old days, the Muslim walls rose here.
.
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40
Picasso’s Málaga
SIGNS AND SYMBOLS
Picasso’s Málaga
.
Plaza del Obispo
Episcopal Palace and Cathedral
This plaza is well-known,
Entering the palace through the plaza entrance,
since it hosts the main festivities
you'll find one of the most outstanding
celebrated in the city.
exposition halls in the city.
It is also one of the most popular
spots in town to have a cup of coffee.
.
Plaza del Obispo
Planned as a plaza
in the Muslim period, the
current construction dates
from the 18th century.
Episcopal Palace
(external view from above)
This palace complex
comprises three different
buildings, each with a
different role: an exposition
hall, an Episcopal
residence, and the offices of
the Bishop of Málaga.
Episcopal Palace
(indoor patio)
The palace is arranged around two
indoor patios. It has a great
imperial staircase covered by an
elliptic vault.
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41
TOURIST BOARD &
TOWN HALL
BANK OF SPAIN
.
Picasso’s Málaga
.
Paseo de Reding
chapter
index
.
42
On the other hand, if you head left when you
finish your stroll along the park, you come to the
elegant Paseo de Reding (6), where you'll find
the La Malagueta Bullring (7), built in 1876 and
linked to Picasso's childhood, together with other
elegant buildings, fantastic traditional houses and
mansions which date from late 19th century.
Picasso’s Málaga
MÁLAGA UNIVERSITY
VICE-CHANCELLOR'S OFFICES
As you finish your walk along the park, turn right,
and once again you'll be able to see the
Mediterranean Sea walking along the seafront
promenade Paseo Maritimo Pablo Ruiz
Picasso (5), which features, just as the
immediate surroundings, a wide and exclusive
number of renowned restaurants (Antonio Martín,
Adolfo, Café de Paris, 7 de Julio, Sal Gorda…),
pizzerias, burger bars, and other places where
you can savour Asian or exotic cuisine at very
affordable prices.
.
PLAZA GENERAL TORRIJOS
Our fifth, and great, option is the
Green Route. The Paseo del Parque (1), running
parallel to the port from the Plaza de La Marina to
the Hospital Noble, was built in 1897 on lands
which were reclaimed from the sea. It was born
from the need to bring an emblematic site to the
town. It has a full range of botanical species, such
as dragon trees, gigantic rubber trees, several
types of palm trees, screwpines, oaks and an
incredible diversity of tropical and subtropical
species. Besides, the park is beautifully
embellished by various fountains, such as Los
Cisnes (The Swans), and sculptures which either
pay homage to different local figures or represent
traditional trades or domestic activities. At this
unique place you'll also find Eduardo Ocón site,
an outdoor stage where unmatched summer
concerts, theatre plays and films are featured.
The Town Hall (2) and the Bank of Spain (3) are
in this area as well as the Málaga University
Vice-chancellor's Offices (4).
Green Route
Green Route
LA MALAGUETA BULLRING
CONVENTION BUREAU
3.1.5 GREEN ROUTE
43
TOURIST BOARD
& CONVENTION BUREAU
GREEN ROUTE
Paseo Reding
Lined with stunning residences, this
walkway is an example of the 19th
century bourgeois ambiance.
Bank of Spain
A typical Neoclassical
building, home to the central
bank of Spain.
La Malagueta Bullring
Inaugurated in 1876, you can
still watch bullfighting fiestas
here, which are particularly
popular during the August
festivities.
SIGNS AND SYMBOLS
Start of route
End of route
Suggested route
Town Hall
This building dates from the beginning of
the 20th century. It has an eclectic style,
with a touch of modernism.
.
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44
Picasso’s Málaga
Picasso’s Málaga
Paseo Marítimo
From the end of the 19th century,
this street marks the limits of one of
the most elegant residential areas of
the city.
.
Paseo del Parque
Paseo del Parque
“Biznaguero"
Started in 1897, this park is home to
(florist) statue
the most diverse variety of tropical and
This botanical path
subtropical flora.
includes several statues
related to life in Málaga.
Green Route
Green Route
University, Vice-chancellor's Offices
This building was formerly the main
post office, inaugurated in 1923.
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TOURIST BOARD
& CONVENTION BUREAU
MÁLAGA UNIVERSITY
VICE-CHANCELLOR'S OFFICES
Juan Luis Peralta Street, with the Málaga
University Vice-chancellor's Offices (1),
runs from the park to the corner of the
Customs Hall (2) -one of the magnificent
Neoclassic edifices in Málaga, built in 1788and Alcazabilla Street, which exhibits this
astounding historic complex. The Roman
Theatre (3) was built during Emperor Augustus
rule, wisely taking advantage of the slopes of
the Gibralfaro hill. The theatre's ashlars and
columns were further used by the Muslims to
build the Alcazaba. The site was fully
excavated in 1951.
Moorish army. Scholars agree on the fact that
the Arabic name of the fortress was Jabal
Faruk (lighthouse mountain), as appears in
several geographical descriptions dating from
the 12th century. The walls of this ancient
fortress are made of earthen and brick
masonry, which could be recovered thanks to
modern architectonic technology in an attempt
to complete the majestic silhouette of the
castle, carefully preserving it from the
passage of time.
ALCAZABA AND CASTLE OF
GIBRALFARO
A bit further to the north the town unfolds the
first Christian monuments, whose armies
decided to extend the urban setting precisely
behind the ancient Arab defensive complex
CUSTOMS PALACE
Route of Civilizations
The Alcazaba (4) is another monument you
should visit before leaving. It is also situated in
Alcazabilla Street, previously a Roman
settlement which the Arabs transformed into a
civil and military residence between the 8th
and 10th centuries, something they would do
in other historic buildings of Muslim Spain.
46
: Roman Theatre in Málaga
.
.
ROMAN THEATRE
To the south, the Alcazaba is protected by the
sea and to the east, by the Castle of
Gibralfaro (5), affording some of the most
breathtaking panoramic views over the Málaga
bay. Today this castle shelters the remains of
an ancient Arab fortress from the 14th century
which sheltered the last Muslim defenders of
the town during the invasion of Christian
troops, which came to an end in 1492 with the
capture of Granada and the withdrawal of the
Picasso’s Málaga
Picasso’s Málaga
.
.
TOWN HALL
From the Paseo del Parque you
can follow the sixth route, featuring sites
related to the town's history. Between the long
green avenue and the building that will house
the museum honouring Picasso, are three of
the most traditional monuments in town: the
Roman Theatre, the Alcazaba (castle) and the
Castle of Gibralfaro.
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TOURIST BOARD
& CONVENTION BUREAU
ROUTE OF CIVILIZATIONS
Alcazaba, at night
Constructed in the Muslim period, this
is a privileged spot in the city. It is
magnificent when lit up at night.
Roman Theatre
The remains of a Roman Theatre
from the Augustus period.
It is currently undergoing renovation
works.
.
Start of route
End of route
Suggested route
.
.
Picasso’s Málaga
SIGNS AND SYMBOLS
48
Picasso’s Málaga
Customs Hall
This building is an example of
Classic Baroque architecture.
It played different roles over the
years, and it currently serves as a
hall where works of art from the
Museum of Fine Arts are
exhibited.
.
Málaga University
Vice-chancellor's Offices
This building was inaugurated as the
main post office in 1923.
Castle of Gibralfaro
Castle of Gibralfaro
(interior)
(interior)
The castle is currently This castle was a refuge
home to the remains of for Muslims fighting the
Chritian army.
a 14th-century Arab
fortress.
Castle of Gibralfaro, views
The castle affords one of the
best panoramic views
of the city.
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The growth of tourism has led to a
full range of offers for foreign visitors to enjoy.
Maybe the most outstanding one is the Málaga
Tour Bus, a two-storey vehicle which started to
operate in 2001. Visitors are driven along the
town's top attractions. The traditional Horse
Coaches which start their journeys at the Paseo
del Parque are another option to explore the
best sites, for a fare of 25 euros.
3.2.
mONUMENTS AND
Furthermore, there are several information
points where you will find expert advise from
tourist professionals who will give you tourist
guides, booklets, brochures and maps with all
the information you may need.
NATURE EDUCATION CENTRE
"Las Contadoras". Montes de Málaga
Admission fee: Around 22.00 euros (incl. meal)
Built in: 18th century
Observations: Custom group activities.
Hours: 10:00 - 17:00
Telephone:(+34) 95 211 02 55
The peaceful journey along these routes and the
visual recognition of its streets, buildings,
monuments, plazas and traditional sites, will not
only enable you to discover one of the most
attractive cities in southern Europe, but it will
also offer a glimpse of a golden age when the
authentic artistic, historic and social
idiosyncrasy of Málaga was still intact, before
the urban modernisation took place.
.
50
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PICASSO FOUNDATION
Birthplace Museum
Admission fee: Around 1.00 euro
Observations: Free admission for seniors over 65 and
children or teenagers under 17 accompanied by an adult.
Hours: Mon-Sun, from 9:30 - 20:00
Closed on public holidays
Telephone:(+34) 95 206 02 15
Picasso’s Málaga
Picasso’s Málaga
Source: Town Council of Málaga
.
.
Málaga and Picasso
Port of Málaga
Monuments and Museums Guide
MUSEUMS GUIDE
51
ALCAZABA (ARAB FORTRESS)
Admission fee: Around 3.30 euros (full visit) - 2.00 euros (partial visit)
Built in: 11th-14th centuries
Observations: Free admission for children under 7; 0.60-euro fee
for children over 7 and seniors
Hours: 8:30 - 18:00 (in winter); 9:00 - 21:00 (in summer)
Telephone:(+34) 630 93 29 87
CATHEDRAL
Admission fee: Around 3.50 euros
Built in: 16th-18th centuries
Observations: Groups, 2.50 euros
Hours: Mon-Fri, 10:00 - 18:00; Sat: 10:00 - 17:00
Telephone:(+34) 95 221 59 17
.
BULLRING
"La Malagueta" Bullfighting Museum
Admission fee: Around 1.80 euros
Built in: 1874
Museum inauguration in: 1999
Hours: Mon-Fri, 10:00 - 13:00 and 17:00 - 20:00
Telephone: (+34) 95 222 62 92
Picasso’s Málaga
Picasso’s Málaga
BOTANICAL GARDEN
“La Concepción”
Admission fee: 4.00 euros
Observations: 2.00-euro fee for children and seniors
(groups, 20 people, 1.00 euro)
Hours: 9:30-16:00 (1 Jan-31 Mar);
9:30-19:00 (1 Apr-30 Sept);
9:30-16:00 (1 Oct-31 Dec)
Last visit 1:30 hour before closing time
Closed on Mondays, 25 December, and 1 January
Telephone:(+34) 95 225 21 48 - 95 225 07 45
.
CASA CONSULADO
Friends of the Country Economic Society
Admission fee: Free
Hours: Mon-Fri, 10:00 - 14:00 and 17:00 - 20:00; Sat, mornings only
Telephone:(+34) 95 222 64 10
BRITISH CEMETERY
Admission fee: Free
Hours: Mon-Fri, 9:00 -14:00;
Chapel of St George, 10:00 - 13:00
Telephone:(+34) 95 240 00 06
CASTILLO DE GIBRALFARO
Admission fee: Around 3.30 euros (full visit) - 2.00 euros (partial visit)
Built in: 11 - 14th centuries
Observations: Free admission for children under 7; 0.60-euro fee
for children over 7 and seniors
Telephone:(+34) 630 93 29 87
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PALACIO DE LA ADUANA (CUSTOMS BUILDING)
Hall of Columns
Partial exhibition of the Museum of Fine Arts' holdings
Admission fee: Free
Built in: 1789
Hours: Tuesday, 15:00 - 20:00;
Wed-Sat, 9:00 - 20:00;
Sun and public holidays, 10:00-14:00
Closed on Mondays
Telephone:(+34) 95 221 83 82
CHURCH OF SANTIAGO APÓSTOL
Admission: Free
Hours: 9:00 - 13:30 and 18:00 - 20:30
Telephone:(+34) 95 221 96 61
ATARAZANAS CENTRAL MARKET
Admission: Free
Hours: 9:00 - 14:30
Telephone:(+34) Not available
MUSEUM OF POPULAR ART & TRADITIONS
Built in: 1632.
Inaugurated in: 1976
Observations: 1.00-euro fee for groups and seniors over 65
Hours: 10:00-13:30 and 16:00-19:00 (1 Oct-15 Jun);
10:00-13:30 and 17:00-20:00 (16 Jun-30 Sept)
Closed on Saturday afternoons, Sundays, and public holidays
Telephone:(+34) 95 221 71 37
Monumentos y museos
Picasso’s Málaga
.
SANCTUARY OF LA VICTORIA
Admission: Free
Built in: 15th - 17th centuries
Observations: Visit to crypt, side chapel and museum, 2.00 euros
Hours: Mon-Fri, 10:00 - 12:00 and 16:30 - 19:00
Telephone:(+34) 95 225 26 47
.
CHURCH OF EL SAGRARIO
Admission: Free
Hours: 9:00 - 12:30 and 18:00 - 19:00
Telephone:(+34) 95 221 19 35
CHURCH OF LOS MÁRTIRES
Admission: Free
Observations: Free admission
Hours: 9:00 - 13:00 and 18:00 - 20:00
Telephone:(+34) 95 221 27 24
CHURCH OF SAN JUAN
Admission: Free
Hours: 10:00 - 12:30 and 18:00 - 20:00
Telephone:(+34) 95 221 12 83
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& CONVENTION BUREAU
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CISTERCIAN MUSEUM. ABBEY OF SANTA ANA
Observations: 1.50-euro fee for groups
Hours: Tue-Sat, 10:30 - 13:00
Telephone:(+34) 95 221 69 71
COFRADÍA DE LA EXPIRACIÓN MUSEUM
Admission: Free
Inaugurated in: 20th century
Hours: Mon-Fri, 11:30 - 13:00 and 19:00 - 21:00
Telephone:(+34) 95 236 02 71
EASTER MUSEUM
Opening soon
Telephone:(+34) 95 221 04 00
.
COFRADÍA DE LA SAGRADA CENA MUSEUM
Admission: Free
Hours: Mon-Fri, 11:30 - 14:00 and 18:00 - 20:00
Telephone:(+34) 95 232 08 80
MUNICIPAL MUSEUM
Admission: Free
Closed on Mondays
Telephone:(+34) 95 222 51 06
EPISCOPAL PALACE
Exhibition hall
Admission: Free
Built in: 16-18th centuries
Hours: 10:00 - 14:00 and 18:00 - 21:00.
Closed on Mondays
Telephone:(+34) 95 260 27 22
.
FLAMENCO MUSEUM
Address: C/ Ramón Franquelo, 4
Telephone:(+34) 95 222 13 80
ANTHROPOLOGICAL MUSEUM
Montes de Málaga
Admission: Free
Hours: Visits booked in advance
Telephone:(+34) 95 204 11 00
COFRADÍA DE LA ESPERANZA MUSEUM
Admission: Free
Hours: Advanced booking essential
Telephone:(+34) 95 261 27 76
TOURIST BOARD
& CONVENTION BUREAU
Picasso’s Málaga
Picasso’s Málaga
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TOURIST BOARD
& CONVENTION BUREAU
PICASSO FOUNDATION
BIRTHPLACE MUSEUM
The Foundation organises different events,
known as Octubre Picassiano (Picassian
October) in October to celebrate Picasso's birth.
.
Picasso’s Málaga
Picasso’s Málaga
.
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58
.
Apart from that, the Foundation also presents
works created by other artists, especially modern
art pieces (a total of 3,500 pieces by more than
200 artists).
This building is located in the heart
of Plaza de la Merced, in the well-known "Casas
de Campos", where Picasso was born. It was
built in 1865 and declared National HistoricArtistic Monument in 1983. Since 1991, it has
been part of the Spanish Museum System. The
museum features ceramics and prints created
by Picasso between 1931 and 1971. The
museum is located on the first floor, where
Picasso was born and spent his early childhood.
There are three different exhibition rooms: one
for ceramics, one for lithographs, and one for
illustrated books. In other parts of the building,
many photos featuring important moments in
the life of the famous Málaga-born artist can be
seen. The Picasso Foundation is proud of being
home to one of the most important and
comprehensive documentation centres about
the artist.
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TOURIST BOARD &
CONVENTION BUREAU
ANTIGUA CASA DE GUARDIA
Alameda Principal, 18
Telephone:(+34) 95 221 46 80
This is the oldest bar in Málaga, established in
1840. Especially suited for savouring local wine
and delicious shellfish. You can eat standing at the
bar and, if you wish, you can take the bottled wine
back home. It is ideal for a quick stop.
BODEGUILLA EL DEL MEDIO
Comisario, 2
Telephone:(+34) 95 222 53 97
3.3. tAPAS' ROUTE
Open since 1991, it recreates the traditional
Andalusian ambiance with photographs of
"cantaores" (flamenco singers), bullfighters and
"rocieros" (typical singing group). It is famous for its
ham and cheese dish and for its wide variety of
"montaditos" (bite-sized snack). You can either eat
standing at the bar or seated in a small dining area.
.
Do not hesitate to ask. As a general rule,
people who work in "tapas" bars are friendly
and ready to help, but if you do not speak
Spanish, just point at the tray of food you fancy
and they will serve you your "tapa". And if you
want to know what it is made of, point and pull
a questioning face to ask: What's that? They
will try to explain what the "tapas" are made of
one way or another. If Columbus and the
Indians managed to understand what they
were saying in different languages, you and us
will manage to do so too.
Don't think twice… enjoy it!
TRUJAL VINOS "ESPECIALIDADES"
Pza. Arriola, 1
Telephone:(+34) 95 221 24 08
It was inaugurated in 2000. Undoubtedly this is
almost paradise for wine lovers. You will find more
than 400 wine varieties from all over the world,
featuring wine dispensers to be properly served
and a wine store where you can buy wines after
getting some advice by in-house experts. They
will also tell you what the appropriate "maridaje"
(wine and food pairing) is so that you can match
your food with the variety of wine that enhances
food flavour. You can either drink at the bar or at
tall tables.
Open since 1985, it offers an assortment of every
type of traditional meals (breakfast, "tapas", lunch
or afternoon snack). It is ideally situated at a busy
plaza, very close to other coffee houses. The
perfect site for you to rest calmly while you have
breakfast or an afternoon snack. Quick menus
and "tapas" at the bar are also very popular.
RINCÓN DEL TRILLO
Espartero, 8
Telephone:(+34) 95 222 31 35
It was opened in 2000. A cosy and rustic corner
featuring two bar areas and a dining area. It is
known for its delicious cod fish and other fresh
fish caught the night before. It features a full list of
wines with more than 90 varieties. Its stuffed
aubergines are also delicious.
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Picasso’s Málaga
Picasso’s Málaga
How do you choose a "tapa"?
.
Welcome to Málaga, the most
lively and luminous land on Earth. You are in
paradise, in the capital of the Costa del Sol,
where we invite you to put into practice a verb
that exists only in Spain: "tapear", or tasting
the extensive Spanish and local gastronomy in
small bites called "tapas" while washing them
down with wine, beer or a soft drink. So
"tapear" means to "take a snack" or, in other
words, to keep your hunger at bay until
lunchtime. When people go out to eat "tapas",
they usually engage in lively conversations, or
if they go on their own, they talk with the waiter
or the bar owner. If you come and taste our
"tapas", you will be able to know our open,
hospitable character. Moreover, it is a good
opportunity to wander through the streets of
our charming city...
CAFETERÍA CALIFORNIA
Alarcón Luján, 1
Telephone:(+34) 95 221 38 80
Tapas’ route
Tapas’ route
Source: AEHMA
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TOURIST BOARD &
.
Open since 1980, it is one of the most traditional
sites at the town centre. It is decorated in typical
Andalusian style. You will be able to taste mainly
homemade local dishes. Its "revueltos"
(scrambled eggs) are well known and you can
taste them either at the bar area, outdoors, or in
the dining area.
Opened at the dawn of the 20th century, Central
is the oldest coffee shop in Málaga and wellknown for its lengthy bar always full of customers
and for its outdoor tables. It is situated in one of
the most cheerful areas of central Málaga City. It
is famous for its fabulous breakfasts and
afternoon snacks (its "churros" -strips of fried
dough- are far-famed). This place is also known
for its fast service. Besides, it offers the finest in
international cuisine both at the bar area or at a
table.
BODEGA QUITAPENAS
Marín García, 4 at Pasaje Chinitas
Telephone:(+34) 95 222 20 64
BAR ORELLANA
Moreno Monroy, 5
Telephone:(+34) 95 222 30 12
These bars belong to the traditional Málaga
winery after which they are named. It is
worthwhile stopping here to sample some
delicious D.O. wines made in the famous winery
(Málaga sweet wines, muscatel, dry wine, etc.).
These eateries feature a simple yet traditional
decoration that makes them ideal for a
quick stop to eat tapas with friends.
Established in 1937, this bar boasts a long
"tapas" tradition and offers bread "ligeritas" and
"bartolitos", very similar to "flamenquines" (pork
and ham rolls) but made with fish. You can also
savour exquisite fresh "pescaito" (fried fish). This
small place only serves at the bar area but no
doubt it is one of the most traditional "tapas'"
sites.
NATURAL BLEND
Pza. de la Constitución, 4
Telephone:(+34) 95 260 80 81
Open since 1999, it is one of the best places to
drink a delicious coffee or tea. It serves
homemade own pastries and exquisite cakes. At
this coffee house you can also savour "tapas" at
the bar area or sitting at a table indoors or
outdoors.
Picasso’s Málaga
Inaugurated in 1967, it is one of the most
traditional "tapas" bar in Málaga. The place looks
like a long L-shaped bar, where you can taste up
to 175 different varieties of "tapas", including
"potajes" (pottage). There are no tables here, and
the place is quite tight but with a good ambience
and a distinct local flavour. It features 16 big
barrels of sweet country wines.
Open since 1992, this is the ideal place to savour
a typical "mariscada" (fresh seafood) or a
delicious assortment of Iberian cold meats at the
bar area. And if you like good meat and have
some time to spare, you can take a seat at the
dining area or at the tables arranged on the
street. It has a small cellar with a good selection
of aged wines.
.
.
.
Picasso’s Málaga
LO GÜENO
Marín García, 9
Telephone:(+34) 95 222 30 48
CAFÉ Y CONFITERÍA CENTRAL
Santa María, 2
Telephone:(+34) 95 222 49 72
62
Tapas’ route
Tapas’ route
Opened in 1977, it is one of the most traditional
"tapas" bar in Málaga. "Flamenquines" (pork and
ham rolls) are well stocked at the bar. You can
also savour regional dishes seated in the
spacious dining area on the upper floor.
MESÓN ANTONIO
Fernando Lesseps, 7
Telephone:(+34) 95 222 33 97
CONVENTION BUREAU
MESÓN LA ALDEA
Esparteros, 5
Telephone:(+34) 95 222 76 89
LA ALEGRÍA
Marín García, 10
Telephone:(+34) 95 260 90 72
chapter
index
63
TOURIST BOARD &
TAPA'S BAR
Plaza de las Flores
Telephone:(+34) 655 865 653
It is a small place, a kind of inn, opened in 1984.
It boasts a true Málaga's atmosphere and is
situated at a very popular narrow pedestrian
street. You will be able to enjoy a wide variety of
traditional "tapas" either at the bar or a table.
This is a spacious tavern-like place. Although it
has been open since 1999, it boasts an oldish
atmosphere. Its speciality are "tapas", of which
more than 25 different varieties can be tasted.
Breakfast is also served. When you order a drink,
you are offered a delicious "tapa" for free and if
you ask for a bottle of wine, you are offered
assorted cold cuts. Its star "tapa" is "patatas a la
brava" (potatoes in spicy tomato sauce).
TABERNA RINCÓN CHINITAS
Pasaje Chinitas
Telephone:(+34) 95 221 09 72
.
EL COMPA
La Bolsa, 7
Telephone:(+34) 95 206 07 10
This inn was inaugurated in 1997. It's ideal both
for "tapas" or for savouring dishes à la carte. Its
famous Cantabria anchovies and the "bacalao al
pil-pil" (codfish with garlic sauce and chilli pepper)
are very popular in the bar area. You can choose
among more than 300 varieties of wine. And last
but not least, they serve homemade desserts.
Open since 1977, it is a spacious place with an
elegant, simple decoration where you can
comfortably savour your "tapas" at the bar or at
tall tables, or you may choose to sit comfortably
at the tables in the dining area. Codfish and
grilled vegetables are its specialities. The "tapas"
here are usually prepared with vegetables, like
cabbage rolls or stuffed aubergines. Besides, you
can also savour its dish of the day, which usually
is a succulent dish, and on Saturdays, they
prepare a delicious paella. Furthermore, they
offer a wide selection of wines.
.
.
64
Picasso’s Málaga
Open since 1999, it is well-known for its rice
varieties (with meat, fish, shellfish or vegetables).
There is also the "plato del día" (dish of the day),
which most often is a succulent traditional dish.
This place features an ample bar area with some
tables scattered around the site.
LA CEPA
Strachan, 2
Telephone: 95 221 40 89
.
LA DEHESA
La Bolsa, 3
Telephone:(+34) 95 221 21 32
Picasso’s Málaga
This bar, opened in 1998, serves different, exotic
meals, Mediterranean "tapas" Greek, Turkish
Lebanese food, and Asian food in general. As
they cook mostly vegetable dishes, the place is
ideal for vegetarian guests, who can taste the
well-known "humus" (chickpea puree) or "tabuli"
salad. There is a bar and two dining areas.
EL TRILLO
Don Juan Díaz, 4
Telephone:(+34) 95 260 39 20
Open since 1998, this is a cosy place featuring a
very comfortable bar area for tasting some
delicious "tapas". It also has tall tables and a
pleasant dining area at the back. Dishes with cod
fish are exquisite and the "anchoas de barrica"
(anchovies) and "solomillo trillo" (sirloin) are
equally delicious.
PITTA BAR
Echegaray, 8
Telephone:(+34) 95 260 86 75
Tapas’ route
Tapas’ route
No doubt, this is one of the most traditional sites
in central Málaga, on Pasaje de Chinitas rubbing
shoulders with the old Café-concert, and
decorated with coffered ceilings which recreate
the typical ambience of the early 20th century.
There is a "tapas" bar area and five dining areas.
They serve exquisite foods typical of Málaga.
Three nights a week there are piano
performances at dinner time and they also feature
flamenco shows for groups, booked in advance.
CONVENTION BUREAU
LOS CANDILES
Moreno Monroy
Telephone:(+34) 95 221 81 46
chapter
index
65
TOURIST BOARD &
EL BARRIL MÍSTICO
Pza. de la Aduana, 2
Telephone:(+34) 95 221 03 04
MESÓN CORTIJO DE PEPE
Pza. de la Merced, 2
Telephone:(+34) 95 222 40 71
This bar, situated opposite to the port, is one of the
oldest in Málaga. It is beautifully decorated with
various marine designs and photographs revealing
Málaga's early days. Since 1970 they have been
making tasty "tortillas" (Spanish omelettes) in
more than a dozen varieties, some including
vegetables. Its typical "callos" (tripe) are no less
praised. They don't feature tables, just a stand-up
area at the bar.
This site looks like a cellar. It opened its doors to
the public in 1999, and specialises in local wines.
You will find more than 100 varieties of Málaga
wines, which perfectly match with some good
ham and cheese "tapas". Its speciality is
"Pajarete", a medium-sweet wine whose
exclusive formula is shared only with Antigua
Casa de Guardia. Besides, they offer assorted
wines including up to five different varieties of
wine paired with the appropriate plate.
Furthermore, they also sell wines from the barrel
or bottled, and they organise samplings and winetasting courses. Although the bar is the most
typical area, you can also eat in the dining area
where works of art are exhibited and sold.
Open since 1971. It serves the typical food of
Málaga which you can try both standing at the bar
or sitting at one of the tables in the dining area. Its
star dishes are "gazpachuelo" (fish soup
thickened by a mayonnaise of oil and egg and
flavored with lemon), "porra antequerana" (thick
soup made from bread, cured ham, hard-boiled
eggs, tuna and tomato), "ensalada malagueña"
(traditional salad whose main ingredient is bitter
orange), "pescaito frito" (fried fish) and
"langostinos al ajopimentón" (prawn in garlic and
paprika). As to the decoration, it tries to recreate
the interior of a traditional Andalusian cortijo (farm
house).
LA TAPERÍA
Granada, 60
Telephone:(+34) 95 260 34 29
MESÓN SANTIAGO
Correo Viejo, 9
Telephone:(+34) 95 222 41 82
.
This site, opened in 1995, specialises in
traditional "tapas" you can eat at the bar. There
are also some tall tables. You can savour
delicious homemade dishes as well as the
famous stuffed baguettes. Its nut bread and
"saladillas" (salty buns) are also mouthwatering.
The service is very fast.
This inn was first opened in 1995 and it recreates
the rustic ambience of the countryside. You can
eat your "tapas" in any of the three bars available.
"Porra antequerana" (thick soup made from
bread, cured ham, hard-boiled eggs, tuna and
tomato) or "ensaladilla rusa" (salad with potatoes,
peas, carrots, olives, tuna, eggs and
mayonnaise) are very popular dishes here. This
place also offers a spacious dining area where
you will be able to savour its speciality: "carnes a
la parrilla" (grilled meat). Quick service.
.
Inaugurated in 1886, this bar is ideally situated in
a privileged place in town, at the Patio de los
Naranjos, just beside the Cathedral. From its
spacious outdoor area, visitors will be able to
admire one of the most stunning vistas of the
Cathedral. The place, featuring a 19th-century
decoration, is good either for having breakfast or
an afternoon snack, and for tasting "tapas" or
other delicious meals. It offers traditional dishes
from Málaga and Córdoba. It has a private room,
and piano performances are held during dinner
on Friday and Saturday nights.
LA POSADA
Granada, 33
Telephone:(+34) 95 221 70 69
chapter
index
.
.
Picasso’s Málaga
Typical Málaga's atmosphere in a place
inaugurated some twelve years ago. As you step
inside you will see pictures on the Holy Week as
well as some depicting bullfighters on the walls.
You can either savour your "tapas" standing at the
bar or seated at the outdoor or indoor tables. You
will get to know the traditional Málaga cuisine,
"pescaito frito" (fried fish), for instance. Their
speciality: "pincho de gamba" (shrimp spit) and
"carne a la moruna" (kebabs).
Picasso’s Málaga
66
Tapas’ route
Tapas’ route
EL JARDÍN
Cañón, 1
Telephone:(+34) 95 222 04 19
CONVENTION BUREAU
LA FRAGATA
Cortina del Muelle, 9
Telephone:(+34) 95 260 12 50
67
TOURIST BOARD &
.
Typical Andalusian tavern opened in 2001 and
situated in an ancient building with high wooden
ceilings. Along the bar or at tall tables, they offer
traditional "tapas" from Málaga or different
international cuisine dishes. Some of its
specialities are "tapa del pirata" (chick-peas,
shrimps, celery and onions), chilled cous-cous with
vegetables, and aubergines with aubergines
parmigiana. You can also enjoy these snacks
sitting at the tables displayed on the pedestrian
street with the typical Málaga's atmosphere.
.
.
Picasso’s Málaga
For more than forty years this fantastic place has
been serving some delicious breakfasts, but you
can also order "tapas". The "ligeritas" (small rolls
of hot bread) with the most extraordinary
combinations ranging from the typical olive oil
and ham to the more consistent, featuring loin in
lard, are highly appetising, especially when
accompanied with a good coffee. The decoration
is rustic, with wooden beams on the ceiling. It has
a small bar area plus some tables.
Picasso’s Málaga
DRAGUT TABERNA
Correo Viejo, 9
Telephone:(+34) 95 200 00 00
.
GAMBRINUS
Granada, 39
Telephone:(+34) 95 222 91 49
Tapas’ route
Tapas’ route
This rustic inn, decorated in wood and wrought
iron, was inaugurated in 1988. They offer a wide
variety of "tapas" at the bar, ranging from Iberian
cold cuts, fresh shellfish or "pescaito frito" (fried
fish), to traditional dishes such as the "bacalao
con pisto" (codfish with fried mixed vegetables),
"porra antequerana" (thick soup made from
bread, cured ham, hard-boiled eggs, tuna and
tomato) or "ensalada malagueña" (traditional
salad from Málaga whose main ingredient is bitter
orange). At the dining area you can also choose
your plate from the menu.
68
CONVENTION BUREAU
MESÓN MARIANO
Granados, 2
Telephone:(+34) 95 222 97 65
chapter
index
69
TOURIST BOARD &
CONVENTION BUREAU
sHOPPING IN THE
3.4.
TOWN CENTRE
EL CARRITO DE PALOMA
EL MOISÉS
C/ Cisneros, 14
C/ Comedias, 24
Children's books
LIBRERÍA LI-BRI-TOS
C/ Granada, 74
Children's clothes
DULCE ESPERA
DULCE ESPERA
PALOMA ENSEÑAT
C/ Marqués de Larios, 6
C/ Marqués de Larios, 4. shop 19
C/ Comedias, 22
Shopping in the town centre
Arab baths
EL HAMMAN, BAÑO MÁGICO
C/ Tomás de Cózar, 3
Art gallery
GALERÍA DE ARTE BENEDITO
TALLER-GALERÍA GRAVURA
C/ Niño de Guevara, 2
C/ Coronel, 3 - 1
Clothes and shoes for children
CALZADOS BADANA
C/ Comedias, 16
Banking
BBVA
C/ Liborio García, 5
Clothing
ALÉS MODAS
C/ Puerta Nueva, 3
Bathroom fittings
JOSÉ MONTES TIRADO
C/ Tomás Heredia, 9
Clothing for teenagers
Blinds & canopies
TOLDOS LABRADOR
C/ Sebastián Souvirón, 16-18
AEROSTATO
PINSAPO
UNITED COLORS OF BENETTON
Bookshops
LIBRERÍA NUEVA IBÉRICA
LIBRERÍA PROTEO
LIBRERÍA CERVANTES
LIBRERÍA BARAKA
LIBRERÍA LUCES
C/ Nueva, 13
C/ Puerta de Buenaventura, 3 - 6
C/ Fajardo, 11
C/ Alameda Principal, 16
Coffee house
CAFÉ Y CONFITERÍA CENTRAL
C/ Santa María, 2
Coffee house - pastry shop
LEPANTO
Consultants
PDF
CONSULTORÍA TECNOLÓGICA
C/ Cárcer, 10 - 1st D
C/ Cárcer, 10 - 1 dcha
.
.
Picasso’s Málaga
.
ADDRESS
70
Picasso’s Málaga
NAME
.
BUSINESS ACTIVITY
Children's accessories
Source: Association Historic Centre of Málaga
chapter
index
71
TOURIST BOARD &
CONVENTION BUREAU
.
REGALOS CACHÉ
Plaza de la Constitución, 12
Costume jewellery, minerals
PACIFIC
C/ Martínez, 20
Evening gowns
GEMMA MELÉ
Plaza de las Flores, 6.Edf. Jazmín
Events and promotions
CREW AZAFATAS
Pza. de las Flores, 2 - 4th B
Fabrics
KILOCENTRO
Fashion accessories
ACCESORI
EL CABALLO
GUANTERÍA PÉREZ-CEA
MARTÍN SÁENZ
OGGI
Q-EROS
TOMÉ
C/ Nueva, 21
C/ Granada, 6
C/ Antonio Baena Gómez, 2
C/ Strachan, 13
C/ Santa María, 3
LA ROMERÍA
C/ Carretería, 14
Flamenco dresses
FLORES LAYEN
C/ Duque de la Victoria, 13
Furniture, décor
LA ALACENA
C/ Carretería, 27
Gas distributor
BUTASOL, S. L.
Avda. Comandante Benítez, 14
General clothing
MODAS MONTAÑÉZ
C/ Compañía, 33
Gifts
AMAZONIA ARTE y DISEÑOS
ORIGINALES RUIZ LINARES
SANATORIO ESTILOGRÁFICO
C/ Santa María, 4
C/ Santa María, 21
C/ Alarcón Luján, 13
Grocer's shop
ULTRAMARINOS ZOILO
C/ Granada, 65
Grooms wedding outfits
ISAMAR NOVIOS
C/ Esparteros, 10
Hairdresser
COPEMA MULTICENTRO
C/ Comedias, 20
Handicrafts
LOS ARTESANOS
C/ Císter, 13
Hardware store
FERRETERÍA EL METRO
Hosiery
LA CASA DE LAS MEDIAS
Pasaje de Heredia, 1
Hospital
SANATORIO Dr. GÁLVEZ
C/ San Agustín, 1
Hotel
HOTEL LARIOS
.
.
Picasso’s Málaga
Costume jewellery
Florist
72
Picasso’s Málaga
C/ Marín García, 11
Pza. de Félix Sáenz, 15
C/ Granada, 14
C/ Puerta del Mar, 5
.
THE BODY SHOP
PERFUMERÍA PRIMOR
YVES ROCHER
ESPEJO HNOS.
ESPEJO HERMANOS
ESPEJO HERMANOS
Cosmetics & perfumes
chapter
index
73
TOURIST BOARD &
Ice-cream parlour
CASA MIRA
CASA MIRA
C/ Nueva, 16
Interior decoration
LIENZO DE LOS GAZULES
ATRIUM DECORACIÓN
BP HABITAT
DECORACIÓN SÁNCHEZ TAPICERÍAS
LA ALBAIDA - MAISON DECOR
Pza. de las Flores, 2
C/ Casapalma, 3
C/ Esparteros, 9
C/ Santa María, 5
JOYERÍA AURELIO MARCOS
JOSÉ LUIS JOYERO
JOYERÍA OLIVARES
RAFAEL MARTÍN JOYERO
MARPER JOYEROS
FERNANDO JOYEROS
GRAGLIA
JOYERÍA CANDELA
MIGUEL HEREDIA
C/ Alarcón Luján, 7
C/ Marqués de Larios, 10 - 2 B
C/ Calderería, 6
C/ Strachan, 5
C/ Esparteros, 11
C/ Esparteros, 9
Plza. de la Constitución, 7
Learning centre
ACADEMIA KEOPS KEFREN
C/ Beatas, 20
Lingerie
HAITÍ
C/ Comedias, 1
CLASSIC NOUVEAU
GANT
RALLY
VALERO
C/ Moreno Monroy, 3
C/ Strachan, 4
Plaza de las Flores, 8
C/ Granada, 8
Minerals, jewellery
LA TIERRA
Motorcycles and accessories
NAVARRO HNOS.
C/ Carretería, 77
Musical instruments
CASA DE LA MÚSICA
MÁLAGA MUSICAL
C/ Carretería, 13
C/ Compañía, 33
Opticians
CENTRO J.L. DOMÍNGUEZ MULTIÓPTICAS
ÓPTICA DURÁN
ÓPTICA FERNÁNDEZ BACA
ÓPTICA CASA ORTEGA
GENERAL ÓPTICA
ÓPTICA BARBARELA
SOLOPTICAL (GRANDOPTICAL)
C/ Martínez, 22
C/ Granada, 61
C/ Granada, 7
Pharmacy
FARMACIA CAFFARENA
FARMACIA CENTRAL
FARMACIA MATA
FARMACIA PUERTA DEL MAR
C/ Puerta del Mar, 5 - 7
Photography
ESTUDIO FOTOGRÁFICO
MIGUEL ÁNGEL
C/ Nueva, 10
.
.
Picasso’s Málaga
.
Jewellers
Men's clothing
74
Picasso’s Málaga
C/ Cisneros, 2
C/ Santos, 3 - 5
.
BAZAR SAN JUAN
BAZAR SAN JUAN
CONVENTION BUREAU
Household appliances
chapter
index
75
TOURIST BOARD &
PAPELERÍA MORALES
PAPELERÍA LA ESPAÑOLA
C/ Ángel, 2
C/ Sánchez Pastor, 5
Promotion
EVENTOS J. P. COSTA
C/ Sebastián Souvirón, 8 - 3 izq.
Tapas' bars
CAFETERÍA-TAPERÍA VERACRUZ
GORKI
C/ Fernando de Lesseps, 2
C/ Strachan, 6
Radiology clinic
CLÍNICA RADIOLÓGICA MARTÍ-TORRES Plaza de la Constitución, 9
Tavern
EL PIMPI
C/ Granada, 62
Restaurants
EL TRILLO
MESÓN RINCÓN CATEDRAL
SAN BERNARDO
C/Don Juan Díaz, 4
C/ Cañón, 7
C/ Niño de Guevara, 4
Technology consultants
TECNOLAND
C/ Cárcer, 10
Telephones
SONICENTRO
Services
UP PRESS
C/ Puerta del Mar, 18 - 5
Training consultants
Shoes
CALZADOS LAYMAR
ZAPATOS TIMBOS
CALZADOS DOVER
CAZADOS ANTONIO PARRIEGO
CALZADOS TÚ Y YO
CALZADOS DÍEZ
CALZADOS PEKAS
CALZADOS CARMEN SOROLLA
C/ Granada, 15
C/ Nueva, 2
C/ Ángel, 1
C/ San Juan, 34
C/ Nueva, 24
C/ Nueva, 29
Plaza de Uncibay, 6
INFOREMPRESA
LIBER FORMACIÓN
Pza. del Teatro, 4
Avda. Rosaleda, 25
Travel agency
VIAJES ROSALEDA
C/ Especerías, 5
Vegetarian restaurant
EL VEGETARIANO DE ALCAZABILLA
C/ Pozo del Rey, 5
Wedding gowns
DEPORTES LA TRUCHA
DEPORTES ESTADIO
DEPORTES ZULAICA
C/ Carretería, 100
C/ Sebastián Souvirón, 13
C/ Calderería, 4
CARMEN Y CARLOS
MARINA ARCOS
PRONOVIAS
PRONOVIAS
ROSA CLARÁ
C/ San Juan, 21
C/ Puerta del Mar, 20
Pza. del Carbón, 1
Pza. de Félix Sáenz, s/n
C/ Esparteros, 12
Sports
.
.
Picasso’s Málaga
.
Stationery
76
Picasso’s Málaga
C/ Granada, 50
.
FOTO VEGA - VÍDEO
PHOTO SHOP
CONVENTION BUREAU
Photography
chapter
index
77
C/ Sancha de Lara, 4
Women, men
& children's clothing
CEISA
ZARA
Women's clothing
AIRE
ANTONIO PERNAS/ PETER MURRAY
AQUA
BOUTIQUE AZULAY
BOUTIQUE CHANG'S
ESCORPION
GOLA
ILO-ILO
MODAS GACELA
MODAS OLIMARA
NARANJO MODAS
SÍNTESIS
TAIGA
TAPIOCA
TODO MUJER
C/ Sánchez Pastor, 12
C/ Marqués de Larios, 3. Shop 11
C/ Granada, 6
C/ Nueva, 1
C/ Salvago, 2
C/ San Juan, 5
C/ Granada, 24
C/ Nueva, 4
C/ San Juan, 27
C/ Granada, 1
C/ Strachan, 6
C/ Martínez, 24
Picasso’s Málaga
.
VOGUE COSTURA
4. tHE MUSEUM: PERMANENT COLLECTION
4.1. CATALOGUE
4.1.1. PAINTINGS
4.1.2. DRAWINGS
4.1.3. SCULPTURES
4.1.4. CERAMICS
4.1.5. GRAPHIC WORKS
The Museum: Collection
Women & men's clothing
4.2. SELECTION OF WORKS
.
.
78
index
79
TOURIST BOARD &
FEMME À LA MANTILLE
Woman with Mantilla
La Coruña, 1 December 1894
Oil on canvas
29 x 19 cm
Signed and dated upper left: P. Ruiz /1-12-94/
Coruña
Extendable ten-year loan by Bernard RuizPicasso
P 2.3
cATALOGUE
4.1. CATALOGUE
4.1.1. PAINTINGS
4.1.2. DRAWINGS
4.1.3. SCULPTURES
4.1.4. CERAMICS
The Museum
NATURE MORTE À LA GUITARE
SUR GUÉRIDON
Still Life with Guitar on Table
18 April 1922
Oil on wood
15 x 10 cm
Dated bottom left: 18-4-22
Inscription on reverse: III
Donation: Christine Ruiz-Picasso
MPM1.3
COMPOTIER
Fruit Bowl
1919
Oil on canvas
45.5 x 45.5 cm
MPM1.2
NATURE MORTE GÉOMÉTRIQUE
À LA PARTITION
Geometrical Still Life with Score
Paris, 19 April 1921
Oil on canvas
93 x 120 cm
Signed upper right: 19-4-21
Inscription: 2000 P.P./PH RS
P2.7
PORTRAIT DE PAULO AU BONNET BLANC
Portrait of Paulo with White Bonnet
Oil on canvas
27 x 22 cm
Dated on verso, on frame: PARIS, 14 avril 1923
Extendable ten-year loan by Christine RuizPicasso
P1.2
The Museum
PAYSAGE
Landscape
La Coruña, 1895
Oil on wood
10 x 17.5 cm
P2.5
OLGA KOKHLOVA À LA MANTILLE
Olga Kokhlova with Mantilla
Barcelona, summer-autumn 1917
Oil on canvas
64 x 53 cm
Extendable ten-year loan by Christine RuizPicasso
P1.1
.
.
4.2. SELECTION OF WORKS
PORTRAIT D'HOMME
Portrait of a Man
La Coruña, 1895
Oil on canvas
50 x 32 cm
P2.
MATERNITÉ
Mother with Child
1921-1922
Oil on canvas
162 x 97 cm
Inscription: CR 9 I/ 25 133 P.P. 429
P2.8
.
.
80
Catalogue
Catalogue
4.1.
PORTRAIT D'HOMME BARBU
Portrait of Bearded Man
1895
Oil on canvas
43.5 x 31.5 cm
Donation: Bernard Ruiz-Picasso
MPM2. 134
L'ENFANT ET SA POUPÉE
(LA SŒUR DE L'ARTISTE)
The Girl and Her Doll (The Artist's Sister)
Barcelona, 1896-1897
Oil on wood
35.5 x 22.5 cm
P2.6
CONVENTION BUREAU
4.1.1. PAINTINGS
chapter
index
81
TOURIST BOARD &
TÊTE SUR FOND BEIGE
Horse on Beige Background
February 1929
Oil on canvas
55 x 46 cm
Dated on verso, on frame: Février-929
MPM1.4
.
The Museum
NU AU DIVAN
Nude on Couch
18 April 1944
Oil on canvas
73 x 92 cm
Signed on verso: 18 Avril 44
Inscription: C.H. 212
P2.14
The Museum
VILLA CHÊNE-ROC
Villa Chêne-Roc
Juan-les-Pins, 19 August 1931
Oil on canvas
19 x 33 cm
Dated on verso, on frame: Juan-les-Pins Villa
Chêne-Roc/ 19 août 1931
MPM1.5
FEMME AUX BRAS LEVÉS
Woman with Raised Arms
1936
Oil, charcoal and sand on canvas
50 x 61 cm
Inscription: 17.00/ Duncan 271
MPM2.138
BUSTE DE FEMME, LES BRAS CROISÉS
DERRIÈRE LA TÊTE
Woman's Bust, Arms behind Her Head
Royan, 7 November 1939
Oil on canvas
81 x 65 cm
Dated bottom left: 7.11.39, on verso: Royan/
7.11.
MPM1.6
.
.
82
.
ARLEQUIN
Harlequin
4 March 1927
Oil on canvas
61 x 50 cm
Signed on verso, on frame: 4 mars 1927
Inscription: 100P.P
P2.9
VISAGE SCULPTURAL
Sculptural Face
9 January 1931
Oil and charcoal on canvas
61 x 50 cm
Dated on verso, on frame: 9 janvier XXXI
Inscription: 45 P.P.
P2.11
TROIS FEMMES JOUANT AU BORD
DE LA MER, CABINES DE BAIN
Three Women Playing at the Seaside, Beach
Cabins
Boisgeloup, 15 September 1932
Oil on canvas
27 x 35 cm
Dated bottom, centre: Boisgeloup-15 septembre
XXXII
Inscription on verso, on frame: II 99
P2.12
Catalogue
Catalogue
OLGA ASSISE
Seated Olga
9 November 1923
Bistre and oil on canvas
27 x 22 cm
Dated on verso, on frame: Dimanche 9.11.23
Inscription: 2104
MPM2.135
FEMME AU DIVAN À TÊTE DE FEMME
Woman on Couch with Woman's Head
5 April 1929
Oil on canvas
14 x 22 cm
Dated on verso, on frame: V avril XXIX
P2.10
CONVENTION BUREAU
PORTRAIT DE FEMME AU COL VERT
(MARIE-THÉRÈSE WALTER)
Portrait of Woman with Green-collar Dress
(Marie Thérèse Walter)
12 February 1938
Oil on canvas
55 x 46 cm
Dated upper left and on verso, on frame: 12.2.38
P2.13
chapter
index
83
TOURIST BOARD &
NATURE MORTE AU COQ ET AU COUTEAU
Still Life with Roster and Knife
21 February 1947
Oil on plywood
101 x 130 cm
Dated on verso: 21.2.47
P2.16
FEMME DANS UN FAUTEUIL
(FRANÇOISE GILOT)
Woman in Armchair (Françoise Gilot)
15 June 1946
Oil on canvas
99 x 71 cm
Date on verso: 15 juin 46
Inscription: 11/ CH 437
MPM2.136
Catalogue
The Museum
HIBOU SUR UNE CHAISE
Owl on a Chair
Paris, 17 January 1947
Oil on canvas
73 x 60 cm
MPM1.7
.
.
84
The Museum
FILLETTE À LA POUPÉE (PALOMA)
Girl with Doll (Paloma)
Vallauris, 13 December 1952
Oil on plywood
73 x 60 cm
Dated on verso: Vallauris 13.12.52
Inscription: Italie - 168 - Rome 122/ 125 - 19 -V./
CR 122
P2.18
.
.
CLAUDE EN BRUN ET BLANC
Claude in Brown and White
Vallauris, 1950
Oil on plywood
48.5 x 45.5 cm
MPM1.8
Catalogue
NATURE MORTE AU CRÂNE ET TROIS
OURSINS
Still life with Skull and Three Sea Urchins
Oil on canvas
60 x 72.5 cm
MPM1.1
CAGE AVEC CHOUETTE
Cage with Owl
21 March 1947
Oil on wood
80 x 100 cm
P2.17
COMPOSITION AVEC TÊTE DE MORT
Composition with Skull
20 February 1946
Lithograph on paper, transferred to stone,
stamped on Vidalon vellum paper
Colour: one colour (black)
Paper: 57 x 77 cm
Stone: 49.5 x 64.7 cm
Features: artist's proof, no signature, printing
work: Mourlot, polished stone
MPM1.99
CONVENTION BUREAU
FEMME DANS UN FAUTEUIL
Woman Seating in Armchair
8 June 1946
Oil on plywood
130 x 97 cm
Dated on verso: 8 juin 46
P2.15
chapter
index
85
TOURIST BOARD &
FEMME ASSISE DE FACE, EN BRUN,
AU FAUTEUIL D'OSIER
Seated Woman Looking ahead, Dressed in
Brown, on a Wicker Chair
27 November 1960
Oil on canvas
116 x 89 cm
Dated on verso: 27.11.60.II
Inscription: PH 252/ PH PIC
P2.20
.
.
The Museum
NU COUCHÉ ET CHAT
Male Nude Lying down with Cat
Mougins, 29 January 1964
Oil on canvas
89 x 130 cm
Dated on verso: 29.1.64/ IV/ 17.2.64
MPM1.12
The Museum
86
HOMME
Man
Vauvenargues, 28 January 1972
Oil on canvas
116 x 89 cm
MPM2.137
.
.
FEMME AU BUFFET HENRI II ET
AU DALMATIEN
Woman by Henry II Sideboard
and Dalmatian
19 March 1959
Oil on canvas
146 x 114 cm
Dated on verso: 19-3-59. II
P2.19
TROIS COLOMBES
Three Doves
Cannes, 18 November 1960
Oil on canvas
49.5 x 107.5 cm
Dated on verso: 18.11.60. II
MPM1.11
BAIGNEUSE
Bather
Mougins, 5 July 1971
Oil on canvas
96.7 x 130 cm
MPM1.13
PERSONNAGE
Personage
Vauvenargues, 28 August 1971
Oil on canvas
130 x 97 cm
Dated: 28.8.71
P2.22
Catalogue
Catalogue
LA CALIFORNIE. INTÉRIEUR
AU FAUTEUIL ROUGE
La Californie, Interior with Red Sofa
Cannes, 17 June 1958
Oil on canvas
55 x 38 cm
MPM1.10
FEMME AU CHAT NOIR, ROBE BLEUE
Woman with Black Cat, Dressed in Blue
27 February 1964
Oil on canvas
146 x 89 cm
Dated on verso: 27.2.64.II
Inscription: PH 238
P2.21
CONVENTION BUREAU
JACQUELINE ASSISE
Seated Jacqueline
Paris, 8 October 1954
Oil on canvas
146 x 114 cm
MPM1.9
chapter
index
87
TOURIST BOARD &
ETUDE DOUBLE DE L´ŒIL GAUCHE
(ÉTUDE ACADÉMIQUE)
Double Study of Left Eye (study)
La Coruña, 1892-1893
Charcoal on laid paper
24 x 31.6 cm
Signed on bottom right: Pablo Ruiz Picasso
Inscription on bottom right: nº de matrícula/ 88
MPM1.15
CONVENTION BUREAU
4.1.2. DRAWINGS
.
.
88
The Museum
AMAZONE ET FAMILLE
Horsewoman and Family
Barcelona, 1903
India ink on paper
20 x 23 cm
P2.25/A
The Museum
.
HOMME, FEMME ET ENFANT
Man, Woman and Child
Mougins, 22 May 1972
Oil on canvas
162 x 130 cm
Dated on verso: 22.5.72. II
MPM1.14
.
TÊTE D'HOMME
Man's Head
Vauvenarges, 14 April 1972
Oil on canvas
81 x 65 cm
P2.23
AMAZONE ET MÈRE AVEC ENFANT
Horsewoman and Mother with Child
Barcelona, 1903
Pencil on paper
21.50 x 23 cm
Inscription on verso: 1985/ 1903/ Z6-572/ 1084/
28/ G 13
P2.24
Catalogue
Catalogue
GROUPE DE FEMMES
Group of Women
1901
Paintbrush and ink on printing paper
31 x 20 cm
Inscription on verso: 1128 P.P.
MPM1.16
chapter
index
89
TOURIST BOARD &
BOUTEILLE SUR UNE TABLE
Bottle on Table
1912
India ink and pencil on paper
34 x 22 cm
Inscription on verso: 1691 P.P.
AMAZONE ET FAMILLE
Horsewoman and Family
India ink on paper
34 x 23 cm
Inscription on verso: Z567 vol 6/ 1903/ 1084/
103/ B21/ 7900
P2.26
BOUTEILLE DE BASS, GUITARE, JOURNAL
ET VERRE SUR UNE TABLE CARRÉE
Bass Bottle, Guitar, Newspaper and Glass on
Square Table
Paris, winter 1913 - spring 1914
Conté pencil on dyed vellum paper
47 x 40 cm
Inscription: 1913 - 1292 P.P. - 42 - CH 2149
MPM1.18
.
The Museum
.
SCÈNE ÉROTIQUE
Erotic Scene
1917
Reed quill pen and bistre on Fabriano vellum
paper
20.5 x 28 cm
MPM1.24
SCÈNE ÉROTIQUE
Erotic Scene
1917
Reed quill pen and bistre on Fabriano
vellum paper
20.5 x 28 cm
chapter
index
.
90
LES YEUX DE LÀRTISTE
The Artist's Eyes
Paris, 1917
Pencil on vellum paper
5 x 9 cm
MPM1.20
The Museum
FEMME
Woman
1911
India ink and pencil on paper
21.5 x 31.5 cm
P2.28
SCÈNE ÉROTIQUE
Erotic Scene
1917
paper
20.5 x 28 cm
MPM1.23
.
FEMME À LA CLARINETTE
Woman with Clarinet
Cèret, summer 1911
Pencil on paper
29 x 22.5 cm
Inscription on verso: 1779 P.P./ 1911/ Z28/ 42/
1238/ 120
P2.27
FEMME À LA GUITARE
Woman with Guitar
1915
27.5 x 21.5 cm
Inscription: 1586 P.P.
MPM1.19
SCÈNE ÉROTIQUE
Erotic Scene
1917
paper
20.5 x 28 cm
MPM1.22
Catalogue
Catalogue
MÈRE ET ENFANT
Mother and Child
Paris, 1905
Quill pen and ink on newsprint
25 x 32.5 cm
MPM1.17
FEMME ASSISE
Seated Woman
Paris, 1906
Pencil on paper
32 x 25 cm
MPM2.139
MPM1.21
CONVENTION BUREAU
MÈRE AVEC ENFANT
Mother with Child
India ink on paper
20 x 23 cm
Inscription: 1899/ 1903/ Z6-570/ 1084/ 32/ 89
P2.25/R
91
TOURIST BOARD &
.
The Museum
.
FEMME NUE AU TURBAN
Naked Woman with Turban
1920-1921
Pencil on laid paper
32 x 22 cm
MPM1.31
JOUEUR DE FLÛTE ET NU COUCHÉ
Flautist and Leaning Nude
Boisgeloup, 4 October 1932
Pencil and ink on paper
35.5 x 54 cm
Dated on bottom left, ink: Boisgeloup, 4 octubre
XXXII
MPM1.32/A
ÉTUDES DE TÊTES DE TAUREAU
Studies of Bull's Heads
Pencil and ink on paper
54 x 35.5 cm
MPM1.32/R
chapter
CHEVAL FATIGUÉ
Tired Horse
7 February 1938
Paintbrush, quill pen and gouache on squared
glazed paper
20.9 x 29.5 cm
Dated on bottom left: 7.2.38
MPM1.34
.
92
GUERRIER GREC
Greek Warrior
Charcoal on paper, rubbed by the artist
25.5 x 32.5 cm
Dated on verso: Paris 21 janvier XXXIV
Inscription: 1912 P.P.-V010 20
P2.30
The Museum
Still Life with Guitar
Gouache, pencil and ink on laid paper
11 x 6 cm
Dated on verso: 24-4-20-III
MPM1.28
TROIS NUES
Nude Trio
1920
Lead on paper
65.5 x 50 cm
Date on verso: 1920
Inscription: 60 - 32 1486 P.P. Chemise 67
MPM2.140
.
NATURE MORTE SUR UN GUÉRIDON
DEVANT UNE FENÊTRE OUVERTE
Still Life on Pedestal Table
in front of Open Window
7 November 1919
Gouache and pencil on laid paper
19.5 x 11.5 cm
MPM1.25
NU ASSIS
Seated Nude
Juan-les-Pins, 3 June 1920
32 x 22 cm
MPM1.30
JOUEUR DE FLÛTE ET NU COUCHÉ
Flautist and Leaning nude
Boisgeloup, 6 October 1932
Pencil and charcoal on vellum paper
23 x 29 cm
Dated on bottom right, pencil: Boisgeloup, 4 octubre XXXII
Inscription: 161 - 1761
MPM1.33
Catalogue
Catalogue
1919
Pencil on laid paper
20.5 x 11 cm
Inscription: 433 P.P. - 2569
MPM 1.27
Still Life with Guitar
Gouache, ink and pencil on laid paper
11 x 15.5 cm
Dated on verso: 25-4-20
MPM1.29
CONVENTION BUREAU
1919
Pencil on dyed paper
16.5 x 12 cm
Inscription: 433 P.P. - 2569
MPM 1.26
index
93
TOURIST BOARD &
.
.
PORTRAIT DE DORA MAAR, AU CHAPEAU
Portrait of Dora Maar with Hat
Royan notebook
Pencil and gouache on vellum paper
17 x 11 cm
MPM1.35 - 10
PORTRAIT DE DORA MAAR AU CHAPEAU
Royan notebook
17 x 11 cm
MPM1.35 - 13 / A
FEMME DEBOUT. ÉTUDE DE MAIN ET TÊTE
Standing Woman. Study of Hand and Heads
Royan notebook
17 x 11 cm
MPM1.35 - 11
BUSTE (DORA MAAR)
Bust (Dora Maar)
Royan notebook
17 x 11 cm
MPM1.35 - 13 / R
Royan notebook
17 x 11 cm
MPM1.35 - 14 / A
PORTRAIT DE DORA MAAR,
DOS ET DOUBLE PROFIL
Portrait of Dora Maar, Back and Side
Royan notebook
Paintbrush and ink on vellum paper
17 x 11 cm
MPM1.35 - 7
.
94
PORTRAIT DE DORA MAAR, DOS ET PROFIL
Royan notebook
17 x 11 cm
MPM1.35 - 6
BUSTE (DORA MAAR)
Bust (Dora Maar)
Royan notebook
17 x 11 cm
MPM1.35 - 12 / R
The Museum
PORTRAIT DÙNE JEUNE PRINCESSE,
DÁPRÈS LE MAÎTRE DE MOULINS
Portrait of a Young Princess,
According to Master of Moulins
Royan notebook
Pencil and ink on vellum paper
17 x 11 cm
MPM1.35 - 3
PORTRAIT DE DORA MAAR, DOS ET PROFIL
Royan notebook
17 x 11 cm
MPM1.35 - 5
Royan notebook
17 x 11 cm
MPM1.35 - 9
.
The Museum
Royan notebook
17 x 11 cm
MPM1.35 - 2
LÀRÈNE
Bullring
Royan notebook
11 x 17 cm
MPM1.35 - 4
Royan notebook
17 x 11 cm
MPM1.35 - 12 / A
Catalogue
Catalogue
Royan notebook
17 x 11 cm
MPM1.35 - 1
Royan notebook
17 x 11 cm
MPM1.35 - 8 / R
CONVENTION BUREAU
CARNET DE ROYAN
Royan Notebook
Royan, 3 - 9 November 1939. Notebook 202
Notebook with cloth cover and vellum paper: 26
bound, 2 loose
11 x 17 cm
Dated on first and second cover: Royan/ 3.11.39
On third and fourth cover: Royan/ 9.11.39
MPM1.35 - 1 a MPM1.35 - 28
chapter
index
95
TOURIST BOARD &
Royan notebook
17 x 11 cm
MPM1.35 - 15 / A
.
ÉTUDE POUR TÊTE DE FILLETTE
Study of Girl's Head
Royan notebook
17 x 11 cm
MPM1.35 - 18 / R
TÊTE DE CHEVAL EMPANACHÉE
Horse's Head with Plume
Royan notebook
11 x 17 cm
MPM1.35 - 21
ÉTUDE POUR TÊTE DE FEMME
AU CHAPEAU JAUNE
Study of Woman's Head with Yellow Hat
Royan notebook
17 x 11 cm
MPM1.35 - 19 / R
TÊTE DE CHEVAL EMPANACHÉE
Horse's Head with Plume
Royan notebook
11 x 17 cm
MPM1.35 - 22
CHEVAL EMPANACHÉ
Horse with Plume
Royan notebook
11 x 17 cm
MPM1.35 - 23
CHEVAUX EMPANACHÉS
Horses with Plume
Royan notebook
11 x 17 cm
MPM1.35 - 24
Royan notebook
17 x 11 cm
MPM1.35 - 17 / R
.
.
96
The Museum
The Museum
TAUREAU
Bull
Royan notebook
11 x 17 cm
MPM1.35 - 20
.
ÉTUDE POUR BUSTE DE FEMME,
LES BRAS CROISÉS DERRIÈRE LA TÊTE
Study of Woman's Bust,
Arms behind Her Head
Royan notebook
17 x 11 cm
MPM1.35 - 16 / A
Arms Behind Her Head
Royan notebook
Reed quill pen and ink on vellum paper
17 x 11 cm
MPM1.35 - 17 / A
Royan notebook
17 x 11 cm
MPM1.35 - 18 / A
Catalogue
Catalogue
Royan notebook
17 x 11 cm
MPM1.35 - 15 / R
Royan notebook
Pencil and gouache on vellum paper
17 x 11 cm
MPM1.35 - 16 / R
CONVENTION BUREAU
BUSTE (DORA MAAR)
Bust (Dora Maar)
Royan notebook
17 x 11 cm
MPM1.35 - 14/ R
chapter
index
97
TOURIST BOARD &
Royan notebook
17 x 11 cm
MPM1.35 - 26
.
FEMME ALLONGÉE
Leaning Woman
Paris, 19 May 1941
Pencil on newsprint
21 x 26.6 cm
Dated on upper right, pencil 19. mai. 41
MPM1.37
FEMME ALLONGÉE
Leaning Woman
Paris, 19 May 1941
Pencil on newsprint
21 x 27 cm
Dated top centre, pencil: 31 août 41
MPM1.38
MAINS
Hands
Paris, 16 July 1941
21 x 27 cm
Dated bottom, centre: 16 juillet 41
MPM1.39
FEMME NUE ASSISE,
LES JAMBES CROISÉES
Naked Woman, Seated with Legs Crossed
27 x 21 cm
Dated upper right, ink: 6 octobre 41. II
MPM1.42
.
.
MAIN
Hand
Paris, 31 July 1941
Oil on newsprint
30 x 43 cm
MPM1.40
98
The Museum
Royan notebook
17 x 11 cm
MPM1.35 - 28
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 octobre 41. I
MPM1.41
.
The Museum
PORTRAIT DE DORA MAAR ASSISE
Royan notebook
17 x 11 cm
MPM1.35 - 27 / R
FEMME ALLONGÉE
Leaning Woman
Paris, 19 May 1941
Pencil on newsprint
21 x 26.6 cm
Dated on upper right, pencil 19. mai. 41
MPM1.36
Catalogue
Catalogue
Royan notebook
17 x 11 cm
MPM1.35 - 27 / A
CONVENTION BUREAU
CHEVAL EMPANACHÉ
Horse with Plume
Royan notebook
11 x 17 cm
MPM1.35 - 25
chapter
index
99
TOURIST BOARD &
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 octobre 41. VII
MPM1.45
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 Octobre 41. V
MPM1.44
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 octobre 41. VIII
MPM1.46
Catalogue
.
The Museum
LA CALIFORNIE. UNE FENÊTRE
La Californie. A window
Cannes, 23 October 1955
Pencil on Rives vellum paper
27 x 21 cm
Dated on upper right: 23. 10. 55/ II
MPM1.52
.
.
100
The Museum
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 octobre 41. XIII
MPM1.50
27 x 21 cm
Dated on upper right: 23. 10. 55/ I
MPM1.51
.
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 octobre 41. XI
MPM1.48
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 octobre 41. XII
MPM1.49
Catalogue
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 6 octobre 41. X
MPM1.47
CONVENTION BUREAU
FEMME NUE ASSISE,
27 x 21 cm
Dated upper right, ink: 8 Octobre 41. IV
MPM1.43
chapter
index
101
TOURIST BOARD &
La Californie. A Window
27 x 21 cm
Dated on upper left: 24.10.55
MPM1.54
La Californie. A Window
27 x 21 cm
Dated on upper left: 29.10.55/ III
MPM1.58
LA CALIFORNIE. DÉTAIL DE FENÊTRE
La Californie. Window's Detail
27 x 21 cm
Dated on upper left: 29.10.55/ VI
MPM1.59
CONVENTION BUREAU
27 x 21 cm
Signed on upper left: 23.10.55/ III
MPM1.53
LA CALIFORNIE. INTÉRIEUR ET FENÊTRE
La Californie. Interior and Window
27 x 21 cm
Dated on upper left: 25.10.55/ I
MPM1.55
LA CALIFORNIE. INTÉRIEUR ET FENÊTRE
La Californie. Interior and Window
27 x 21 cm
Dated on bottom left: 25.10.55/ III
MPM1.56
Catalogue
The Museum
The Museum
.
.
Catalogue
LA CALIFORNIE.
CHAISE ET MATÉRIAL DE PEINTURE
La Californie. Chair with Painting Material
21 x 27 cm
Dated on upper right: 20.10.55/ II
MPM1.57
.
.
102
chapter
index
103
TOURIST BOARD &
TÊTE DE FEMME (FERNANDE)
Woman's Head (Fernande)
Paris, 1906 (cast in 1960)
Bronze covered with green patina
36 x 25 x 23 cm
Signature inscribed: Picasso
Foundry seal: cire perdue
Valsuani. Numbered: 6/9
P2.36
PETITE FIGURE
Small Figure
Bronze
23.5 x 5.5 x 5.5 cm
Numbered: 1/12. Foundry seal, on verso, bottom:
E perdue
MPM1.60
Catalogue
.
TÊTE D`HOMME
Man's Head
Vallauris, 1948
Bronze
5.5 x 5.5 x 3.5 cm
MPM1.63
BAIGNEUSE JOUANT
Bather Playing
Cannes, 1958
Plaster, wood, iron
113 x 45 x 65 cm
P2.37
MUSICIEN ASSIS
Seated Musician
Vallauris, 1950
Red modelled fired clay
8.5 x 12 x 8 cm
MPM1.64
TÊTE DE FEMME (JACQUELINE)
Woman's Head (Jacqueline)
Baked, modelled white clay
27 x 16 x 21 cm
MPM1.67
FAUNE ASSIS
Seated Faun
1951
White modelled engraved fire clay
9.5 x 5 x 7 cm
MPM2.142
TÊTE DE FEMME. PROFIL
Woman's Head. Profile
Cannes, 1961
Cut folded sheet
31 x 19.6 x 11.7 cm
MPM1.68
.
.
104
The Museum
The Museum
TAUREAU ÉTENDU
Lying Bull
Cannes, 1957
Bronze
7 x 11 x 6.3 cm
MPM1.66
.
FEMME DEBOUT
Standing Woman
1947
Bronze (sculpture), stone (base)
Sculpture: 14.5 x 3.5 x 3.5 cm. Base: 4.5 x 5 x
4.5 cm
MPM1.62
FEMME NUE ÉTENDUE
Lying Naked Woman
Vallauris, 1951-1952
Plaster mixed with ground stone
3.5 x 13.5 x 5 cm
Catalogue
TÊTE DE MORT
Dead's Head
Bronze
3.5 x 4.5 x 4 cm
MPM1.61
FEMME DEBOUT
Standing Woman
1947
White moulded glazed fired clay
Assembled elements
Height: 18.5 cm
MPM2.141
CONVENTION BUREAU
4.1.3. SCULPTURES
chapter
index
105
TOURIST BOARD &
PLAT AU VERRE ET AU COUTEAU
Plate with Glass and Knife
Vallauris, 28 October 1947
White fired clay decorated, incised, painted
with engobes,
32 x 38 cm
Dated on verso: 28.10.47 V
MPM 1.69
CRUCHE EN FORME D'OISEAU
Bird-shaped Jug
1947
Red thrown clay, painted with engobes,
enamelled and glazed; assembled elements
50 x 41 x 33 cm
MPM1.70
Catalogue
.
The Museum
.
INSECTE
Insect
1951
White baked clay, thrown, engraved and painted
with engobes;
modelled and assembled elements
42 x 35 x 26 cm
MPM2.143
.
VASE FLEUR
Flower Jar
1950
White clay baked, thrown and modelled, incised
and
dotted, painted with oxides, glazed
32 x 15 cm
P2.42
chapter
index
The Museum
106
OISEAU
Bird
Vallauris, 5 August 1950
Red clay baked and painted with engobes;
inside glazed with leaf alcohol
20 x 28 cm
Dated near handle: Vallauris 5.8.50
Inscribed under base: V; sealed on side:
Vallaruis AM
P2.41
.
GRAND PLAT AU VISAGE DE FAUNE
Platter with Faun's Face
Vallauris, 15 March 1948
White fired clay, modelled, engraved and painted
with engobes, glazed
38 x 32 cm
Dated on verso: 15.3.48/ I/ 1.48
MPM1.71
PICHET
Jar
1948
White clay, baked, thrown, incised, painted
with glazing and engobes, partially glazed
23.5 x 18 cm
P2.40
CRUCHE AU VISAGE FÉMININ
Jug with Woman's Face
9 May 1951
White thrown clay, incised and
painted with engobes
Assembled handles
36.5 x 25 x 19 cm
Dated inside: 9.5.51
Inscription under base: 2:80
MPM1.72
Catalogue
TÊTE DE FAUNE
Faun's Head
1947
White, thrown fired clay, painted with engobes,
sgraffito, enamelled
59.5 x 35.5 cm
P2.38
TROIS ATHLÈTES ET UNE CHOUETTE
Three Athletes and Owl
1948
White fired clay, thrown, incised, painted with
engobes, enamelled
26 x 21 cm
Sealed on base: Madoura
P2.39
CONVENTION BUREAU
4.1.4. CERAMICS
107
TOURIST BOARD &
BUSTE DE FAUNE
Faun's Bust
2 April 1957
Red clay baked, thrown, painted with engobes,
sgraffito
Diameter: 44.5 cm
MPM2.144
PLAT À LA TÊTE DE CHÈVRE
Plate with Goat's Head
Vallauris, 9 March 1953
White fired glaze, painted with engobes, glazed
Diameter: 40 cm
Sealed on verso: Madoura
Plein feu
MPM 1.73
NATURE MORTE AUX TROIS POISSONS
ET UNE RONDELLE DE CITRON
Still Life with Three Fish and Slice of Lemon
10 April 1957
Red clay baked, thrown, incised and painted with
engobes
Diameter: 41.5 cm
Dated on verso: 1004.57
P2.46
Catalogue
VISAGE LUNAIRE
Moon Face
1955-1956
White clay baked, with incisions by the artist with
his thumb
Diameter: 31 cm
P2.44
.
The Museum
.
.
The Museum
TÊTE DE FEMME
Woman's Head
12 July 1962
White baked clay, painted with oxides, partially
glazed
22 x 16 x 11.5 cm
Dated on edge: 12.7. 62
Donation by Bernard Ruiz-Picasso
MPM2.145
chapter
index
MOUSQUETAIRE
Musketeer
15 March 1969
Baked red clay, incised, painte with
engobes, enamelled, partially glazed
133 x 100 x 3.5 cm
Dated on upper left: 15.3.69
Extendable 10-year loan by Bernard RuizPicasso
D2.49
.
JARRE AUX GUIRLANDES
Jar with Garlands
16-17 March 1957
Red clay baked, thrown, incised and painted with
engobes
44.5 x 32 x 29 cm
Dated inside neck: 16-7.3.57
P2.45
GRAND PLAT OVALE AU BORD FESTONNÉ,
"CORRIDA"
Oval Platter with Festooned Border,
"Corrida"
Vallauris, 26 June 1957
White fired clay, modelled, engraved and painted
with oxides and engobes, partially glazed
28 x 66 x 5.5 cm
Stamped seal: Madoura plein feu
MPM1.75
VISAGE
Face
17 January - 11 February 1965
Original print on white baked clay, painted with
engobes and oxide, glazed
Diameter: 42.5 cm
Inscription on face, reversed incision: 17.1.65
Painted on verso: 11.2.65
Inscription on verso: Mpf+O.P
D2.48
Catalogue
108
CRUCHE AUX TROIS TÊTES
Jar with Three Heads
Vallauris, 4 June 1953
Red thrown clay, painted with pastel
28 x 22 x 20 cm
Dated under base: 4 juin 53
MPM1.74
PICHET
Jar
9 October 1964
White clay baked, thrown and modelled, painted
with engobes and glazed
19 x 22 cm
Dated: 9.10.64
Sealed under base: Édition Picasso/Madoura
P2.47
CONVENTION BUREAU
CHOUETTE
Owl
Vallauris, 12 December 1952
White baked clay. Original in plaster
34 x 34 x 24 cm
Signed and dated on base: Picasso 12.12.52
P2.43
109
TOURIST BOARD &
LES PAUVRES
The Poor
1905
Etching on zinc; on Van Gelder vellum paper
Colour: single colour plate (black)
Paper: 33 x 26 cm
Plate: 23.5 x 18 cm
Numbered with pencil: 15
Copy features: 1913 edition;
second state; unsigned
Printing features: printing work: Louis Fort;
publisher: Ambroise Vollard; 250 copies;
scratched zinc
MPM1.76
L'AIGLE
Eagle
1906
Xylograph on Ingres laid paper
Colour: single colour plate (brown)
Paper: 24 x 15.6 cm
Plate: 9 x 8 cm
Copy features: unsigned; stamped by the artist
Donation: Christine Ruiz Picasso
MPM1.77
POMMES
Apples
1914
Etching on copper; on Ingres laid paper
Paper: 16 x 24 cm
Plate: 15 x 18.8 cm
MPM1.80
POMMES
Apples
1914
Paper: 17.5 x 23.5 cm
Plate: 15 x 18.8 cm
MPM.1.79
Catalogue
.
The Museum
The Museum
.
.
.
110
Catalogue
POMMES
Apples
1914
Paper: 17.5 x 23.5 cm
Plate: 15 x 18.8 cm
MPM1.78
LA GUITARE SUR LA TABLE
Guitar on the Table
1922
Etching and drypoint on zinc, printed on vellum
paper
Paper: 21.2 x 30 cm
Plate: 8 x 12 cm
Seal reproducing the artist's signature
on bottom left: Picasso
Numbered on bottom left: E.A. VII/XX
Copy features: edition, 1961;
second state; artist's proof
Printing features: printing work by Frélaut;
publisher: Louise Leiris Gallery; 70 prints
MPM1.81
CONVENTION BUREAU
chapter
index
111
TOURIST BOARD &
Catalogue
The Museum
The Museum
.
.
LE VIOL. I
Rape. 1
Paris, 21 November 1932
Drypoint on copper, on Imperial laid paper
Paper: 12.2 x 9.2 cm
Plate: 29.7 x 21 cm
Seal reproducing the artist's
signature on bottom right: Picasso
Numbered on bottom left, pencil: E.A. XI/XVI
Copy features: 1961 edition; artist's proof
Printing features: printing work by Frétant;
publisher: Louise Leiris Gallery; 50 copies
MPM1.86
.
.
112
Catalogue
SCÈNE D'INTÉRIEUR
Indoor Scene
March 1926
Lithograph: lithographic pencil on stone
Paper: 33 x 52 cm
Stone: 22.3 x 28 cm
MPM2.146
VISAGE
Face
1928
Lithograph: lithographic pencil on stone,
stamped on newsprint
Colour: single colour stone (black)
Paper: 32.5 x 25 cm
Stone: 20.5 x 14.5 cm
Copy features: trial proof, unsigned
Printing features: printing work by Marchizet;
publisher: Éditions G. Crès et Cie;
220 copies; polished stone
MPM1.84
DEUX FEMMES NUES
Two Naked Women
30 September 1930
Etching on copper, on vellum paper
Paper: 59 x 47 cm
Plate: 31.2 x 22.5 cm
Trait carré: 25.7 x 18.2 cm
Copy features: trial proof, unsigned
Printing features: printing work by Louis Fort;
publisher: Albert Skira, 1931;
125 copies; scratched copper
MPM1.85
CONVENTION BUREAU
PORTRAIT D'ANDRÉ BRETON,
PROFIL DE TROIS-QUARTS
Portrait of André Breton, Three-quarter Profile
1923
Drypoint on copper, printed on Arches laid paper
Paper: 27 x 17.5 cm
Plate: 15 x 10 cm
Copy features: 1923 edition; unsigned
Printing features: printing work by Delâtre;
publisher: André Breton for his book Clair de
terre; 240 prints;
scratched copper
MPM1.82
PEINTRE TRAVAILLANT, OBSERVÉ PAR UN
MODÈLE NU
Painter Working, Observed by a Naked Model
1927
Etching on copper, on Imperial newsprint
Paper: 23.7 x 30.4 cm
Plate: 19.5 x 28 cm
Numbered on upper right, pencil: VIII
Copy features: artist's proof, unsigned
Printing features: printing work: Louis Fort;
publisher: Ambroise Vollard,
for Balzac's Le chef-d'oeuvre inconnu, 1931;
305 prints; scratched copper
MPM1.83
chapter
index
113
TOURIST BOARD &
Catalogue
.
FEMMES ÉTENDUES
Lying Women
16 January 1933
Monotype on copper, on Italian vellum paper
Paper: 20.5 x 26.5 cm
Plate: 15 x 18.3 cm
Dated on bottom left, pencil:
16 janvier XXXIII
Copy features: unsigned, stamped by the artist
MPM1.91
MUSICIENNE ET DORMEUSE. VII
Musician and Sleeper. VII
January 1933
Monotype on copper; on vellum paper
Paper: 16.5 x 12 cm
Plate: 9 x 8 cm
Copy features: second or third print from
monotype; unsigned; stamped by the artist
MPM1.94
The Museum
The Museum
TÊTE DE PROFIL
Head's Profile
2 January 1933
Monotype on copper; on handmade Arches laid
paper
Paper: 25.5 x 34.5 cm
Plate: 23 x 19 cm
Dated on verso: 2 janvier XXXIII/(C)
MPM1.90
MUSICIENNE ET DORMEUSE. VII
Musician and Sleeper. VII
January 1933
Monotype on copper; on vellum paper
Paper: 16.5 x 12 cm
Plate: 9 x 8 cm
Copy features: first or second print from monotype; unsigned; stamped by the artist
MPM1.93
.
.
114
.
LA BAIGNADE
The Bath
Etching on copper; on Auvergne Richard de Bas
laid paper
Paper: 44.6 x 33 cm
Plate: 22.5 x 19 cm
Copy features: 1961 edition; unsigned
publisher: Louise Leiris Gallery, 50 copies
MPM 1.88
FLÛTISTE ASSISE ET DORMEUSE. IV
Sleeping Flautist, Seated. IV
January 1933
Monotype on copper, on handmade Arches laid
paper
Paper: 17.5 x 26 cm
Plate: 15 x 18.5 cm
Copy features: first print; unsigned; stamped by
the artist
MPM1.92
Catalogue
LE VIOL. VI
Rape. VI
Etching on copper, on handmade Arches laid
paper
Paper: 25.5 x 34.5 cm
Plate: 19.3 x 26.8 cm
Dated on plate, upper left, reversed: Paris, 20
octobre XXXIII
Inscription on upper right, pencil: II E
Copy features: second state, unsigned; stamped
by the artist
MPM1.96
LA PLAGE. III
The Beach. III
Drypoint on copper; on Imperial laid paper
with mark of a bull
Paper: 35.6 x 26.2 cm
Plate: 15.5 x 11.7 cm
on bottom right: Picasso
Numbered on bottom left: E.A. III/XV
Printing features: printing work by Frétant;
publisher: Louis Leiris Gallery; 50 copies
MPM 1.87
LE SAUVETAGE
The Rescue
Paris, 17 December 1932
Etching on copper; on Imperial newsprint
Paper: 25 x 32.5 cm
Plate: 16 x 19.2 cm
Numbered on bottom left: E.A. VI/VXI
MPM1.89
CONVENTION BUREAU
LE VIOL. VI
Rape. VI
Etching on copper, on handmade Arches laid
paper
Paper: 25.6 x 34.5 cm
Plate: 19.3 x 26.8 cm
Dated on plate, upper left,
reversed: Paris, 20 octobre XXXIII
Inscription on upper right, pencil: IE
Copy features: first state, unsigned, stamped by
the artist
MPM1.95
chapter
index
115
TOURIST BOARD &
The Museum
Catalogue
.
The Museum
BUSTE DE FEMME AVEC FICHU
Woman's Bust with Kerchief
1939
Aquatint, scraper and chisel on copper;
on Vidalon vellum paper
Paper: 49.5 x 40.5 cm
Plate: 26 x 22.3 cm
Seal reproducing the artist's signature on
bottom right: Picasso
numbered on bottom left: E.A. IV/XV
Copy features: 1961 edition,
second state; artist's proof; unsigned
Printing features: printing work be Félaut;
publisher: Louis Leiris Gallery; 50 copies;
scratched copper
MPM1.98
.
PORTRAIT DE MARIE- THÉRÉSE DE FACE
Portrait of Marie Thérèse, Full Face
Paris, 4 February 1934
Aquatint, etching and drypoint on copper, printed
on Picasso watermark paper
Paper: 44.8 x 39.9 cm
Plate: 31.7 x 22.9 cm
Dated on plate, bottom right: 4.2.34
Copy features: second state, artist's proof,
unsigned; stamping by Lacourlere, 1942; 55
copies
publisher: Louise Leiris Gallery, 1981; 60 copies;
scratched copper
P2.32
TETE DE FEMME.
PORTRAIT DE DORA MAAR. II
Woman's Head. Portrait of Dora Maar. II
Aquatint, scraper and drypoint on copper
Colour: four plates with four colours
Paper: 44.2 x 33.5 cm
Plate: 29.9 x 23.7 cm
Dated on plate, upper right, reversed: 20.4.39
MPM2.148
Catalogue
MINOTAURE CARESSANT DU MUFLE
LA MAIN D'UNE DORMEUSE
Minotaur Caressing a Sleeping Woman's
Hand with Its Snout
Boisgeloup, 18 June 1933
Drypoint on copper
Plate: 29.9 x 36.5 cm
Dated: Boisgeloup, 18 junio XXXIII
MPM2.147
LA PLAINTE DES FEMMES
Women's Lament
Etching and drypoint on copper;
on Auvergne Richard de Bas laid paper
Paper: 45 x 33 cm
Plate: 27.8 x 19.7 cm
Copy features: fourth state, 1961 edition
publisher: Louise Leiris Gallery
MPM1.97
FEMME AU FAUTEUIL: DORA MAAR
Woman in Armchair: Dora Maar
Aquatint, scraper and cold chisel on copper,
printed on
Picasso watermark paper
Paper: 45 x 34.2 cm
Plate: 29.8 x 23.7 cm
Dated on plate, upper left: 19.4.39
Copy features: second state, artist's proof,
unsigned; stamped by Lacouriere, 1942; 59
copies
publisher: Louise Leiris Gallery, 1980;
P2.33
.
.
116
CONVENTION BUREAU
SCULPTURE. TÊTE DE MARIE- THÉRÉSE
Sculpture. Marie Thérèse's Head
Paris, 18 February 1933
Drypoint and scratcher on copper; on Vollard laid
paper
Paper: 45 x 34.1 cm
Plate: 32 x 22.9 cm
Copy features: 20th and last state; artist's proof;
unsigned;
stamped by Lacouriere, 1942; 55 copies;
Monotypes printed for 20 previous copies
Printing features: printing work by Félaut;
publisher: Louise Leiris Gallery, 1981; 70 copies;
scratched copper
P2.31
chapter
index
117
TOURIST BOARD &
.
.
.
The Museum
PICADOR ET TAUREAU. I
Picador and Bull, I
Paris, 3 March 1947
Sugar aquatint, mordant applied manually, on
copper; on Montval vellum paper
Paper: 44.7 x 55.3 cm
Plate: 30 x 40.7 cm
Dated on upper left, reversed: mars 47
Copy features: second state, trial proof; unsigned
Printing features: printing work by Lacourière; 15
copies;
scratched copper
MPM1.101
118
The Museum
FEMME AU MIROIR
Woman Looking at a Mirror
26 November 1950
Lithograph, two inks: first plate (black): quill pen
on transfer paper; transferred to zinc; second
plate (ochre): brush and quill pen
on transparent transfer paper, transferred to
zinc; on Arches vellum paper
Paper: 38.3 x 56.7 cm
Plates: 33 x 49 cm
Dated on transfer paper, twice on right side,
vertical: 26.11.50/ 26.11.50
Copy features: first state (black); second state
(ochre);
stamping by Mourlot
MPM1.104
.
FRANÇOISE
Françoise
14 June 1946
Lithograph: lithographic pencil on transfer paper,
transferred to stone
Paper: 65.5 x 51 cm
Plate: 63 x 49 cm
Dated on paper, bottom left: 14 juin 46
Inscription on verso: 66/1181, 5 ép./ 55 don't 1
rehaussée
MPM2.150
JEUNE FEMME AU CORSAGE À RAYURES
Young Woman with Striped Bras
26 February and 4 March 1949
Lithograph: gouache, quill pen, lithographic ink
and scraper on zinc; on vellum paper
Paper: 65 x 50 cm
Stone: 65 x 50 cm
Dated on upper right, reversed: 26.2.49;
on bottom left, reversed: 4.3.49
Copy features: second state; stamping by Mourlot
MPM1.103
Catalogue
Catalogue
COMPOSITION AVEC TÊTE DE MORT
Composition with Skull
20 February 1946
Lithograph: lithographic pencil on transfer paper,
transferred to stone; on Vidalon vellum paper
Paper: 57 x 77 cm
Stone: 49.5 x 64.7 cm
Copy features: artist's proof; unsigned; stamping: Mourlot;
polished stone
MPM1.99
PICADOR ET TORÉADOR DANS L'ARÈNE
Picador and Bullfighter on Ring
3 March 1947
Sugar aquatint, mordant applied manually;
stamped on vellum Pur paper
Paper: 38.5 x 5 cm
Plate: 3 x 40.7 cm
Signed on bottom right, red pencil: picasso
Dated on upper right, reversed: 3.3.47
Inscription, bottom, red pencil: Bon à tirer pour
15 épreuves
Copy features: bon à tirer
Printing features: printing work by Lacourière;
MPM1.102
CONVENTION BUREAU
TETE DE FEMME.
PORTRAIT DE DORA MAAR. V
Woman's Head.
Portrait of Dora Maar. V
1939
Aquatint, scraper and drypoint on copper
Colour: four plates with four colours
Paper: 44.5 x 33.5 cm
Plate: 29.9 x 23.7 cm
MPM2.149
HIBOU AU FUSAIN
Owl, Charcoal Drawing
Lithograph: lithographic pencil with frottage on
transfer paper; transferred to stone; stamp on
Arches vellum paper
Paper: 65 x 50.5 cm
Stone: 64 x 48 cm
Dated on paper, on upper left: 21.1.47
Copy features: artist's proof; unsigned; stamped
by Mourlot;
polished stone
MPM1.100
chapter
index
119
TOURIST BOARD &
The Museum
Catalogue
.
PIGEONNEAU
Young Pigeon
1954-1957
Linocut: gouge or penknife on linoleum; on
greeenish laid paper
Paper: 37.5 x 28 cm
Plate: 16 x 20 cm
Copy features: trial proof
MPM1.109
BACCHANALE AVEC JEUNE HOMME
MASQUÉ
Bacchanalia with Masked Young Man
Cannes, 18 September 1955
Etching on copper; stamped on Arches laid
paper
Colour: one single colour plate (black)
Paper: 37 x 52 cm
Plate: 26 x 31 cm
Dated on bottom left, reversed: 18.9.55.I
Inscription and number on bottom left: E.A.
XII/XV
publisher: Louise Leiris Gallery; 68 copies;
scratched copper
MPM1.111
BACCHANALE AVEC HIBOU
ET JEUNE HOMME MASQUÉ
Bacchanalia with Owl and
Masked Young Man
Etching on copper; stamped on old laid paper
with mark of a bull
Paper: 36.5 x 52 cm
Plate: 25.8 x 30.6 cm
Inscription and number on bottom left: E.A.
VII/XV
Dated on bottom left, reversed: 23.9.55
Publisher: Louise Leiris Gallery;
MPM1.112
.
The Museum
PIGEONNEAU
Young Pigeon
1954-1957
Linocut: gouge or penknife on linoleum; on blue
paper
Paper: 37.5 x 28 cm
Plate: 16 x 20 cm
MPM1.108
BACCHANALE AVEC ENFANT JOUANT
DES CYMBALES
Bacchanalia with Children Playing Cymbals
Etching on copper, on greenish laid paper
Colour: one single colour plate (black)
Plate: 26 x 30.5 cm
Paper: 36 x 46 cm
Dated on upper left, reversed: 17.9.55
Inscription and number on bottom left: E.A. X/XV
scratched copper
MPM1.110
Catalogue
BALZAC, D'APRÈS RODIN
Balzac, According to Rodin
Paris, 26 November, 1952
Etching on copper: on old laid paper with mark of
a bull
Paper: 36 x 52 cm
Plate: 57.5 x 48 cm
Dated on upper edge, reversed: 26.11.52
Numbered on bottom left: E.A. IX/XV
Copy features: 1961 edition: artist's proof
scratched copper
MPM1.105
PIGEONNEAU
Young Pigeon
1954-1957
Linocut: gouge or penknife on linoleum; brown
ink on Arches vellum paper
Paper: 36.5 x 28 cm
Plate: 16 x 20 cm
Sgined on bottom edge, blue pencil: Picasso
Copy features: artist's proof
Printing features: printing work by Robert
Blanchet;
publisher: Berggruen, 1957; 226 copies
MPM1.107
.
.
120
CONVENTION BUREAU
FEMME AU MIROIR
Woman Looking at a Mirror
11 November 1953
Lithograph, 2 inks: first plate (black): quill pen
and scraper on zinc;
second plate (ochre): lithographic pencil on
paper transferred to zinc;
on Arches vellum paper
Paper: 50.5 x 66 cm
Plates: 39.5 x 51.5 cm
Dated on right edge, vertical: 15.12.50/
10.12.50;
reversed, 26.11.50; vertical, reversed: 5.11.53;
on transfer paper: 11.11/53
Copy features: fourth state; stamping by Mourlot
MPM1.106
chapter
index
121
TOURIST BOARD &
Catalogue
BUSTE AU CORSAGE À CARREAUX. II
Bust with Checked Blouse. II
18 and 27 December 1958
Lithograph: lithographic pencil and drypoint on
zinc, printed on vellum paper
Paper: 66 x 50 cm
Plate: 56 x 44 cm
Dated on plate, upper right,
reversed: 18.12.57/ 27.12.58
Printing features: 50 copies
MPM2.152
BACCHUS ET MÉNADE
Bacchus and Ménade
Cannes, 22 March 1960
Etching on slightly bevelled copper;
on laid paper with Imperial mark
Paper: 29.7 x 21 cm
Plate: 18 x 12.6 cm
Dated on plate, on upper left, reversed: 22.3.60
Inscription and number on bottom left: E.A. V/XV
scratched copper
MPM1.116
.
The Museum
SUR LES CHEVAUX DE BOIS
On Wooden Little Horses
Etching on copper; stamped on laid paper
with mark of a bull
Paper: 36 x 26 cm
Plate: 22.3 x 17.7 cm
Dated on upper right, reversed: 22.3.60
Inscription and number on bottom left: E.A. V/
XVII
publisher: Louise de Leiris Gallery; 50 copies;
scratched copper
MPM1.118
.
.
122
The Museum
BUSTE DE PROFIL. III
Bust in Profile. III
11 January and 27 December 1958
Lithograph: gouache on zinc, face drawing
engraved with drypoint
Paper: 65.6 x 50.2 cm
Plate: 64 x 49 cm
Signed on bottom right, reversed: 11.1.58/
27.12.58
MPM2.151
VIEILLARD SURPRENANT
UNE FEMME AU LIT
Old Man Surprising a Woman in Bed
Etching on copper; stamped on laid paper
without mark
Paper: 24.7 x 30.7 cm
Plate: 13 x 18 cm
Dated on plate, on upper right, reversed: 22.3.60
Inscription and number on bottom left: E.A. XVI
scratched copper
MPM1.117
.
LA PIQUE CASSÉE
The Broken Lance
Linocut: gouge or penknife on linoleum; two inks,
Colour: linoleum plate stamped with whitish ink
on uniform black background
Paper: 62.3 x 75.3 cm
Plate: 53.3 x 64.2 cm
Printing features: printing work by Arnéra;
MPM1.115
Catalogue
DEUX FEMMES ASSISES
Two Seated Women
Cannes, 10 January 1956
Lithograph: lithographic pencil with
frottage on transfer paper, transferred to stone;
Paper: 50.3 x 65.8 cm
Stone: 42 x 55 cm
Signed on bottom right, pencil: Picasso
Dated on transfer paper, on upper left: 10.1.56.
II
Copy features: artist's proof; stamping: Mourlot
MPM1.114
CONVENTION BUREAU
DANS L'ATELIER DE PICASSO
In Picasso's Studio
Cannes, 13 November 1955
Lithograph, six inks (blue, green, red, brown,
yellow, black); lithographic pencil on
transparent paper transferred to stone;
stamped on Arches vellum paper
Paper: 66 x 50 cm
Stone: 44.7 x 33 cm
Dated on transfer paper, bottom,
in six different colours, seven times,
two on blue stone: le 13.11.55
Numbered on transfer paper,
on upper right: nº I; on bottom left: nº IV/
Nº V/ nº II/ nº III/ nº VI
Printing features: printing work by Mourlot;
publisher: Mourlot; 275 copies
MPM1.113
chapter
index
123
TOURIST BOARD &
Catalogue
PORTRAIT DE FEMME AU CHAPEAU
(JACQUELINE ROQUE)
Portrait of Woman with Hat
(Jacqueline Roque)
Mougins, 20 January and 8 March 1962
Linocut: gouge and penknife on linoleum, on
Arches vellum paper
Colour: single colour plate (brick red)
Paper: 75.5 x 62.2 cm
Plate: 63.9 x 52.7 cm
Copy features: unsigned
Printing features: printing work by Améra;
96 copies. This plate was also stamped
horizontally,
representing a landscape; 95 copies
P2.35
chapter
index
The Museum
.
.
A POMPONS ET AU CORSAGE IMPRIMÉ
Portrait of Woman with Hat with Pompons and
Patterned Blouse
Mougins, January-March 1962
Linocut: gouge or penknife, five inks,
on Arches vellum paper with Arches mark
Colour: one plate, five colours (slimming
technique): yellow, red, light blue, green, black
Paper: 75.2 x 61.8 cm
Plate: 63 x 53 cm
Inscription on verso, bottom left:
478/68/2069 + 1 plaque/BI072 2 ep. +
5 encrages
Copy features: fifth state; unsigned
Printing features: printing work by Améra;
publisher: Louise Leiris Gallery, 1963; 50 copies
MPM1.133
The Museum
A POMPONS ET AU CORSAGE IMPRIMÉ
Portrait of Woman with Hat with Pompons and
Patterned Blouse
Mougins, January-March 1962
Linocut: gouge or penknife on linoleum,
four inks, on Arches vellum paper with Arches
mark
Colour: one plate, four inks (slimming
technique): yuellow, red, light blue, green
Paper: 75.2 x 61.8 cm
Plate: 63 x 53 cm
Inscription on verso, on bottom left: 478/69
Copy features: fourth state; unsigned
MPM1.132
.
.
(JACQUELINE ROQUE)
Portrait of Woman with Hat
(Jacqueline Roque)
20 January and 8 March 1962
Original linoleum plate with gouge, made with
greasy pastel and remains of printer's ink, stuck
to tin plate
64.2 x 53.2 x 2.2 cm
Dated on verso, horizontal, blue wax pencil:
20.1.62;
vertical, green wax pencil: 8.3.62
P2.34
Catalogue
124
JACQUELINE EN MARIÉE DE PROFIL. II
Jacqueline Wearing Wedding Gown,
in Profile. II
Sugar aquatint, with mordant applied manually,
scraper and drypoint
on copper; on old laid paper
Paper: 57.5 x 48 cm
Plate: 40 x 30 cm
Copy features: first state; unsigned; stamping by
Frélaut
MPM1.120
CONVENTION BUREAU
JACQUELINE EN MARIÉE DE PROFIL. I
Jacqueline Wearing Wedding Gown,
in Profile. I
Sugar aquatint, with mordant applied manually
and drypoint;
(scraper point) on copper;
on handmade Auvergne Richard de Bas laid
paper, handmade fleur-de-lis mark
Paper: 50.8 x 38.7 cm
Plate: 40 x 28.5 cm
Copy features: unsigned; stamping, Frélaut
MPM1.119
125
TOURIST BOARD &
.
Catalogue
.
.
The Museum
DU MODE D'EMPLOI D'UNE JEUNE FEMME
Employment of a Young Woman
Etching and drypoint on copper; on Rives vellum
paper
Paper: 25 x 32.5 cm
Plate: 19.7 x 25.5 cm
Dated on plate, on bottom left, vertical, reversed:
31/5/68/ III
Copy features: artist's proof; unsigned
Printing features: printing work by Crommelynck;
publisher: Crommelynck, 1971 edition; 50 copies
MPM1.124
126
The Museum
CÉLESTINE, MAJA ET COMPLICE MASCULIN
Célestine, Maja and Male Accomplice
Sugar aquatint on greased copper,
on Rives vellum paper
Paper: 32.5 x 25 cm
Plate: 11.7 x 6 cm
Dated on upper right, reversed: 27.5.68. II
publisher: Crommelynck, for the book La
Célestine,
1971 edition; 400 copies
Donation Christine Ruiz-Picasso
MPM1.123
.
FUMEUR
Smoker
22 August 1964
Aquatint and soft varnish, on Auvergne Richard
de Bas laid paper
Colour: one plate, several colours
Paper: 78.7 x 57.5 cm
Plate: 60 x 43 cm
Dated on upper left, reversed: 22.8.64. II
Publisher; Louise Leiris Gallery; 50 copies
MPM2.155
TÊTE D'HOMME BARBU. II
Bearded Man's Head. II
Mougins, 10 and 15 March 1965
Sugar aquatint, mordant applied manually,
scraper on bevelled copper;
Paper: 47.7 x 37.3 cm
Plate: 37 x 27 cm
Dated twice on bottom left, reversed: 15.3.65/
10.3.65.VI
Inscription on bottom left, grease pencil: 2e Etat/
une seule épreuve
Copy features: second state; unsigned
Publisher; Louis Broder, for Pierre Reverdy's
book Sable mouvant, 1966;
255 copies
MPM1.122
Catalogue
LE PEINTRE ET SON MODÈLE
The Painter and His Model
6 July 1962
Lithograph: lithographic pencil on transfer
paper, transferred to stone; stamped
pearlescence Japan paper
Colour: one stone one colour (black)
Paper: 43 x 63 cm
Stone: 25.5 x 38.7 cm
Signed on transfer paper, bottom right: Picasso
Dated on transfer paper, bottom right: le 6.7.62
Inscription on transfer paper, bottom right:
pour mon cher MacOrlan
Printing features: printing work by Mourlot;
TÊTE
Head
19 August 1964
Aquatint and soft varnish, on Auvergne Richard
de Bas laid paper
Colour: one plate, several colours
Paper: 56.5 x 40.5 cm
Plate: 42 x 32 cm
Dated on upper right, reversed: le 19.8.64. I
MPM2.154
CONVENTION BUREAU
PORTRAIT DE JACQUELINE À LA FRAISE
Portrait of Jacqueline with Ruff
10 April 1962
Linocut: gouge and scraper on linoleum, six inks
Colour: two plates, five colours (slimming
technique) and six passages
Paper: 62.5 x 44 cm
Plate: 34.9 x 27 cm
Dated on main linoleum, on verso, by the artist:
10.4.62
MPM2.153
publisher: André Sauret,
for his book Regards sur Paris; 180 copies
MPM1.121
chapter
index
127
TOURIST BOARD &
Catalogue
.
FEMME ALLONGÉE
Lying Woman
Mougins, 1 June 1971
Etching on copper; on Rives vellum paper
Paper: 50 x 65.4 cm
Plate: 36.7 x 48.7 cm
Dated on upper left, reversed: 1.6.71. I
Copy features: unsigned; stamping by
Crommelynck
MPM1.131
REPOS. DEUX FILLES NUES
Repose. Two Naked Young Women
Mougins, 29 March 1971
Paper: 37.7 x 42.5 cm
Plate: 22.8 x 30.2 cm
Dated on upper right, reversed: 29.3.71. I
Copy features; unsigned; stamping by
Crommelynck
MPM1.129
.
The Museum
.
.
The Museum
by
Catalogue
RAPHAEL ET LA FORNARINA. XXIII
Raphael and the Fornarina. XXIII
Mougins, 8 September 1968
Paper: 25 x 32.5 cm
Plate: 14.7 x 20.5 cm
Dated on upper left, reversed: 8.9.08. III
Copy features: trial proof;
unsigned; stamping by Crommelynck
MPM1.126
CAVALIER SURPRENANT DES FEMMES
DANSANT AU CLAIR DE LUNE
Horseman Surprising Women
Dancing in the Moonlight
Mougins, 27 February 1971
Etching and drypoint on copper;
Paper: 28 x 38 cm
Plate: 14.7 x 20.7 cm
Inscription on bottom left, pencil: Etat II
Copy features: second state; unsigned;
stamping by Crommelynck
MPM1.128
DEGAS VISIONNAIRE. FILLE ÉCOUTANT LES
HISTOIRES DE SES COMPAGNES AU REPOS
Degas, Visionary. Girl Listening to Her
Friends, Resting, Telling Stories
Mougins, 3 April 1971
Paper: 50 x 65 cm
Plate: 36.5 x 48.5 cm
Dated on top, reversed: 3.4.71
Copy features: unsigned; stamping by
Crommelynck
MPM1.130
128
CONVENTION BUREAU
BEAU GENTILHOMME ESPAGNOL
ET FEMME À BARBE
Handsome Spanish Gentleman
and Bearded Woman
Mougins, 31 August 1968
Sugar aquatint and drypoint on copper;
Paper: 44 x 32.5 cm
Plate: 32.5 x 19.5 cm
Dated on upper left, reversed: 10.8.68. I
Copy features: trial proof; unsigned
publisher: Crommelynck, 1971 edition; 50 copies
MPM1.125
FEMME ALLONGÉE
Lying Woman
Mougins, 21 April 1970
Paper: 50 x 64.7 cm
Plate: 36.5 x 48.5 cm
Dated on upper right, reversed: 21.4.70. I
Copy features: unsigned; stamping
Crommelynck
MPM1.127
chapter
index
129
5.
Hours
Tue-Thu, 10:00 - 20:00
Fri - Sat: 10:00 - 21:00
Sun and public holidays: 10:00 - 20:00
Closed on Mondays, 25 December, and 1 January
Admission fees
Permanent collection: 6.00 euros
Temporary exhibitions: 4.50 euros
Both: 8.00 euros
Discount: 50%
Visitors over 65
10 to 16 year-old visitors (accompanied by an adult)
Students under 26, with student card Groups of
more than 20 people (advanced booking essential)
Free admission
Children under 10 (accompanied by an adult)
ICOM members
uSEFUL
INFORMATION
5.2.SIGHTSEEING BUS TOURS "MÁLAGA TOUR"
5.1. PICASSO MUSEUM
(Provisional information)
5.
Fares:
Adults: 15.00 euros
Children under 15: 7.00 euros
Children under 5: Free
Málaga City residents (with ID):
Adults: 5.00 euros
Children under 15: 3.00 euros
Children under 5: Free
Seniors with EMT card: 3.00 euros
Admission fees to monuments not included in bus fares
Telephones: 620 82 81 09 / 902 10 10 81
"Málaga Tour" runs two different routes which can
be taken with the same 24-hour-valid ticket (as
long as the buses are running):
Classical Málaga/La Concepción Botanical Garden
uSEFUL INFORMATION
5.1 PICASSO MUSEUM
5.2 TOUR BUS "MÁLAGA TOUR"
5.3 TAXIS
5.4 PARKING AREAS
5.6 TOURIST INFORMATION OFFICES
5.7 SHOPS
5.8 EMERGENCIES
5.9 HORSE-DRIVEN CARRIAGES
Tickets sale:
at the ticket office (Picasso Museum)
Advanced booking:
at www.museopicassomalaga.org
and by calling 902 360 295
Address:Palacio de Buenavista
c/ San Agustín, 8. 29015 Málaga
Telephone:(+34) 902 44 33 77
E-Mail: [email protected]
Entry to monuments is not included in the prices
Customer information numbers: (+34) 620 82 81 09
and (+34) 902 10 10 81
.
.
130
Useful information
Useful information
5.5 BANK AND CURRENCY
index
131
TOURIST BOARD &
The route begins at the bus station and stops in
front of the Post Office, Port, the Paseo del
Parque, the Paseo de la Farola, La Malagueta
Beach, the Bullring, Gibralfaro Castle, Santuario
de la Victoria, Plaza de la Merced (Picasso's birthplace), the Alcazaba, the Cathedral and the
Alameda.
The bus on the Botanical Gardens route leaves
from platform 1 at the Bus Station and goes directly to the Gardens. It leaves daily except for
Camas:
On Camas Street
0-30min: 0.048 euros plus VAT
Next 30-60min: 0.057 euros plus VAT
24h: 17.70 euros plus VAT
Taxis can be hailed in the street by just raising
your arm as far as they are showing the green
light on, or you can order the service over the
phone. There are two firms which offer this
service 24-hours-a-day: Unitaxi 95 233 33 33 and
Taxiunión 95 204 08 04.
CONVENTION BUREAU
Málaga Tour runs two different routes able to be
enjoyed with the same ticket, which is valid for 24
hours (as long as the buses are running): Málaga
Classic and the route to Concepción Botanic
Gardens.
The Málaga Classic route lasts around ninety
minutes with buses running every half hour.
Customers are given headphones on the route to
listen to the guide, with eight languages available:
Spanish, English, French, German, Italian,
Japanese, Swedish and Russian.
Atarazanas, Alameda Principal, Cervantes,
Molina Larios, Córdoba, Muelle Heredia, Plaza
de la Merced, Casapalma, Duque de la Victoria,
Plaza de la Victoria, Plaza poeta Manuel
Alcantara and at both the Train and Bus Station.
S.A.R.E.
The SARE 30 signs indicate that you may park
your car in the blue zone up to 30 minutes for
0.30 euros.
In the city centre, S.A.R.E. areas can be found on
Atarazanas Street and Alameda Principal.
There is no fixed price. Fares depend on the
distance to cover and are displayed on taximeters
fitted inside the vehicles.
If the sign reads SARE only, you are allowed to
park up to 90 minutes for 1.55 euros.
5.4. PARKING AREAS
There are four municipal parking areas in downtown
Málaga as well as several S.A.R.E. areas (street
parking areas distinctly marked in blue):
Central/Marina:
In Plaza de la Marina, opposite the Port
Useful information
.
Downtown you will find various taxi ranks. The
closest to the historic centre are situated at the
following streets:
Alcazaba:
In Plaza de la Alcazaba
.
132
5.3. TAXIS
Useful information
Mondays when the Gardens are closed.
Tejón y Rodríguez:
On Tejón y Rodríguez Street
chapter
index
133
5.5. BANK AND CURRENCY
5.8. EMERGENCIES
The monetary unit is the euro. In many downtown
streets, especially along Larios Street, you will
find a lot of banks or savings banks' branches
with their cash dispensers where any major
international credit card can be used.
Should any safety or medical emergency arise,
please dial 112, free European emergency
telephone that will immediately put you through to
the corresponding institution. They are available
round-the-clock and operators speak Spanish,
English and German.
Banks are open from 8:30 a.m. to 2:00 p.m. from
Monday through Saturday (except from May to
September, when they are closed on Saturdays).
Savings Banks close at 2:15 p.m. and do not
open on Saturdays.
5.6. TOURIST INFORMATION OFFICES
Main tourist offices:
- Government of Andalusia's Tourist Offices
Pasaje de Chinitas, 4;
telephone +34 95 221 34 45
- Municipal Tourist Offices
Avenida de Cervantes, 1. Paseo del Parque;
telephone 95 213 47 30
Plaza de la Marina, 11;
telephone +34 95 212 20 20
Shop hours in downtown area: from 10:00 a.m. to
1:30 p.m. and from 5:00 p.m. to 9:00 p.m.,
although many shops along Larios Street do not
close at midday.
Most of them accept major credit cards and offer
tax-free purchases.
Furthermore, along the main downtown streets,
especially on Larios Street, you will always find
personnel belonging to the Municipal Police, who
are dressed in blue. You will also find public
telephones along almost every downtown street
with instructions in different languages and
exhibiting the main emergency telephones.
5.9. HORSE-DRIVEN CARRIAGES
They depart from Paseo del Parque and drive
through the centre and La Malagueta.
6.
g ENEALOGY
PABLO RUIZ PICASSO
Fares:
Minimum ride, 45 minutes (4 people): 25 euros
60-minute ride (4 people): 30 euros
Every 15 extra minutes asked by passenger: 5
euros
Extra charge for accessing the Port of Málaga: 10
euros
Fair Week, extra charge: 5 euros
Extra charge 5th passenger: 5 euros
The tour takes from 45 minutes to 1 hour.
Genealogy
.
.
Useful information
5.7. SHOPS
For medical emergencies that require an
ambulance, please dial 061. There is a health
care centre at San Agustín Street, with a
permanent medical and surgical emergency unit
24 hours a day.
134
index
135
TOURIST BOARD &
CONVENTION BUREAU
José Ruiz Blasco
GENEALOGY
6.
g ENEALOGY
PABLO RUIZ PICASSO
Parents:
José Ruiz Blasco
Lola
Conchita
Pablo Ruiz
Picasso
Sisters:
Lola
Conchita
Wives:
Olga Kokhlova
Jacqueline Roque
Girlfriends:
Fernande Olivier
Eva Gouel
Maria Thérèse Walter
Dora Maar
Françoise Guilot
Fernande
Olivier
Eva
Gouel
Olga
Kokhlova
MarieThérèse Walter
Paulo
Maya
Dora
Maar
Françoise
Gilot
Claude
Jacqueline
Roque
Paloma
Grandchildren:
Pablo
Marina
Bernard
Pablo
Marina
Genealogy
Genealogy
Children:
Paulo
Maya
Claude
Paloma
Bernard
.
.
136
chapter
index
137
TOURIST BOARD &
CONVENTION BUREAU
138
chapter
index
139
140
141

Malaga - Costa Del Sol

Transcription

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