BWW Reviews: Art Institute of Chicago Delves into Artistic Process with PICASSO AND CHICAGO

Opening with a replica maquette of the untitled Richard J. Daley Center Picasso sculpture, the Art Institute of Chicago's current special exhibition, PICASSO AND CHICAGO, is quick to emphasize the famous artist's connection to the city. In fact, nearly all of the included pieces in the show are a part of the Institute's collections, giving the exhibit a unique point of view and showcasing the Museum's vast inventory of pieces that are often rarely seen.

Following the Daley Center sculpture, visitors will find themselves confronted with the beautiful and famous Blue Period piece, THE OLD GUITARIST. However, Picasso fans that come to this exhibit to see multiple galleries filled with Blue Period works may find themselves disappointed, as this era of Picasso's work pretty much ends there. Actually, there is even more emphasis on Picasso's shorter and much less famous Rose Period than his Blue Period.

Yet, this lack of Blue Period domination is where I first realized that PICASSO AND CHICAGO has a unique and refreshing perspective in analyzing this celebrated artist. Rather than relying on Picasso's famous paintings, the show's emphasis is on his countless works on paper. It includes many sketches and prints that allow insight into Picasso's process, and also visualize his experimental evolutions in style.

Although crowd-pleasing, well-known paintings such as THE RED ARMCHAIR and NUDE UNDER A PINE TREE are included, the works on paper may be the most interesting facet. Sketches, etchings and linocuts act as connecting threads throughout the artist's lifetime, and show his transformative concepts that lead to his evolution.

For example, THE VOLLARD SUITE ETCHINGS show his range and experimentalism with mark-making techniques, while POEMS AND LITHOGRAPHS, 1949 delves into the artist's psyche by combining the artist's notes and sketches.

Often through juxtaposition of these works on paper with pieces that employ other media, PICASSO AND CHICAGO does well in showcasing the vast range of styles in Picasso's body of work. The gorgeous and subdued style of the 1922 HEAD OF A WOMAN chalk drawing is in direct contrast to the nearby 1909 HEAD OF A WOMAN sculpture, which is angular and cubist in style. Furthermore, his late career works contain a wide range of color and high-energy mark making, which are almost polar opposites from his earlier works, which often leaned towards blended form and subdued or even monochromatic color palettes.

The show's conclusion relates back to Chicago again with Picasso's sketches for the Daley Center sculpture. These sketches not only connect Picasso to Chicago but also appropriately tie the show's beginning with its end. A fitting ending that almost excuses the gigantic temporary Picasso-themed gift shop, which visitors must walk through afterwards.

PICASSO AND CHICAGO runs through May 12 in the Art Institute of Chicago's Regenstein Hall. For more information visit www.artic.edu.

Photo by: Raymond Hayen

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