Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

Temporary Exhibition

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

From 11 October 2022 to 15 January 2023

Pablo Picasso y Gabrielle Chanel trabajaron juntos en dos ocasiones, ambas con Jean Cocteau: en Antígona (1922) y en Le Train Bleu (1924) de Serge Diaghilev para sus Ballets rusos. La artista y la diseñadora de moda se conocieron en la primavera de 1917, probablemente a través de Cocteau o Misia Sert, y Chanel entabló una amistad íntima y duradera con ambos, quienes la introdujeron en el círculo de Picasso. Ella socializó con el artista y su esposa en un momento en que él participaba activamente en la compañía de Diaghilev. Chanel se asoció estrechamente con el mundo artístico e intelectual parisino de la época, hasta el punto de declarar que “son los artistas quienes me han enseñado a ser exigente”. *

Una vez más uniendo arte y moda, el Museo Thyssen presenta una exposición que explora la relación entre estos dos genios creativos del siglo XX. Estructurado en cuatro secciones principales, sigue un orden cronológico que abarca aproximadamente la década entre 1915 y 1925.

El estilo Chanel y el cubismo revela la influencia de ese movimiento artístico en las creaciones de Chanel desde sus primeros e innovadores diseños: el uso de un lenguaje formal geométrico, la contención cromática y la estética cubista del collage, expresada en prendas de líneas rectas y angulosas: su preferencia por el negro, blanco y beige; y su uso de telas económicas con texturas austeras.

La segunda sección, titulada Olga Picasso, se centra en los numerosos y hermosos retratos de Picasso de su primera esposa, la bailarina rusa Olga Khokhlova, que fue una de las clientas devotas de Chanel. Junto a estas obras se muestran varios conjuntos de la primera época del diseñador, de los cuales sobreviven pocos ejemplos. Antígona, una adaptación moderna de Cocteau de la obra de Sófocles, se representó por primera vez en París en 1922 con decorados y máscaras de Picasso y vestuario de Chanel, ambos inspirados en la Grecia clásica, como revela esta sección. Le Train Bleu es el título de la cuarta sección y del ballet creado por Diaghilev en 1924 con un escenario de Cocteau, inspirado en actividades que estaban de moda a principios de la década de 1920, como tomar el sol y el deporte. Dos mujeres corriendo por la playa (La carrera), un pequeño gouache que Diaghilev encontró en el estudio de Picasso, se transformó en la imagen del paño frontal de la obra y el artista también aceptó el encargo de ilustrar el programa. Por su parte, Chanel creó el vestuario de las bailarinas, inspirándose en los sport outfits que creaba para ella y para sus clientas.

* Isabelle Fiemeyer, Coco Chanel. Un parfum de mystère, 1999, París, Éditions Payot & Rivages, « La plaque d’ébène », p. 146

“Picasso y Chanel coincidieron en un tiempo y lugar particular pero, más importante aún, compartieron la misma visión estética y conceptual”

Con Paula Luengo, comisaria de la exposición.

/by
,

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

Temporary Exhibition

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

From 11 October 2022 to 15 January 2023

Pablo Picasso and Gabrielle Chanel worked together on two occasions, both with Jean Cocteau: on Antigone (1922), and on Serge Diaghilev’s Le Train Bleu (1924) for his Ballets russes. The artist and fashion designer first met in the spring of 1917, probably through Cocteau or Misia Sert, and Chanel became close and long-lasting friends with both, who introduced her to the Picasso’s circle. She socialised with the artist and his wife at a time when he was actively involved with Diaghilev’s company. Chanel became closely associated with the Parisian artistic and intellectual world of the day, to the extent of declaring that “it is artists who have shown me how to be exacting.” *

Once again bringing art and fashion together, the Museo Thyssen will be presenting an exhibition that explores the relationship between these two creative geniuses of the 20th century. Structured into four principal sections, it follows a chronological order approximately spanning the decade between 1915 and 1925.


The Chanel style and Cubism reveals the influence of that art movement on Chanel’s creations from her earliest, innovative designs: her use of a geometrical formal language, chromatic restraint and the Cubist aesthetic of the collage, expressed in clothes with straight, angular lines: her preference for black, white and beige; and her use of inexpensive fabrics with austere textures.

The second section, entitled Olga Picasso, focuses on Picasso’s numerous, beautiful portraits of his first wife, the Russian ballerina Olga Khokhlova who was one of Chanel’s devoted clients. Shown alongside these works are various ensembles from the designer’s early period, of which few examples survive. Antigone, a modern-day adaptation by Cocteau of Sophocles’s play, was first performed in Paris in 1922 with sets and masks by Picasso and costumes by Chanel, both of whom were inspired by classical Greece, as this section reveals. Le Train Bleu is the title of the fourth section and of the ballet created by Diaghilev in 1924 with a scenario by Cocteau, inspired by activities that were fashionable in the early 1920s, such as sunbathing and sport. Two Women Running along the Beach (The Race), a small gouache which Diaghilev encountered in Picasso’s studio, was transformed into the image for the work’s front cloth and the artist also accepted the commission to illustrate the programme. For her part, Chanel created costumes for the dancers, inspired by the sport outfits she created for herself and for her clients.

* Isabelle Fiemeyer, Coco Chanel. Un parfum de mystère, 1999, Paris, Éditions Payot & Rivages, « La plaque d’ébène », p. 146

Monday closed.
From Tuesday to Sunday: 10.00 – 19.00
Exceptional opening until 22.00:

  • Saturdays (except 24 and 31 December).
  • Fridays, from 11 November to 6 January (except 18 November and 16 Deember).
  • Bank Holiday (except 25 December and 1 January: Museum closed).
  • From 6 to 10 December.
  • Christmas: from 27 to 30 December and from 3 to 7 January.
Temporary exhibition halls, (level 0)
“Picasso and Chanel coincided in a particular time and place but, more importantly, they shared the same aesthetic and conceptual vision”

With Paula Luengo, curator of the exhibition.

/by

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

Temporary Exhibition

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

From 11 October 2022 to 15 January 2023

Pablo Picasso and Gabrielle Chanel worked together on two occasions, both with Jean Cocteau: on Antigone (1922), and on Serge Diaghilev’s Le Train Bleu (1924) for his Ballets russes. The artist and fashion designer first met in the spring of 1917, probably through Cocteau or Misia Sert, and Chanel became close and long-lasting friends with both, who introduced her to the Picasso’s circle. She socialised with the artist and his wife at a time when he was actively involved with Diaghilev’s company. Chanel became closely associated with the Parisian artistic and intellectual world of the day, to the extent of declaring that “it is artists who have shown me how to be exacting.” *

Once again bringing art and fashion together, the Museo Thyssen will be presenting an exhibition that explores the relationship between these two creative geniuses of the 20th century. Structured into four principal sections, it follows a chronological order approximately spanning the decade between 1915 and 1925.


The Chanel style and Cubism reveals the influence of that art movement on Chanel’s creations from her earliest, innovative designs: her use of a geometrical formal language, chromatic restraint and the Cubist aesthetic of the collage, expressed in clothes with straight, angular lines: her preference for black, white and beige; and her use of inexpensive fabrics with austere textures.

The second section, entitled Olga Picasso, focuses on Picasso’s numerous, beautiful portraits of his first wife, the Russian ballerina Olga Khokhlova who was one of Chanel’s devoted clients. Shown alongside these works are various ensembles from the designer’s early period, of which few examples survive. Antigone, a modern-day adaptation by Cocteau of Sophocles’s play, was first performed in Paris in 1922 with sets and masks by Picasso and costumes by Chanel, both of whom were inspired by classical Greece, as this section reveals. Le Train Bleu is the title of the fourth section and of the ballet created by Diaghilev in 1924 with a scenario by Cocteau, inspired by activities that were fashionable in the early 1920s, such as sunbathing and sport. Two Women Running along the Beach (The Race), a small gouache which Diaghilev encountered in Picasso’s studio, was transformed into the image for the work’s front cloth and the artist also accepted the commission to illustrate the programme. For her part, Chanel created costumes for the dancers, inspired by the sport outfits she created for herself and for her clients.

* Isabelle Fiemeyer, Coco Chanel. Un parfum de mystère, 1999, Paris, Éditions Payot & Rivages, « La plaque d’ébène », p. 146

Monday closed.
From Tuesday to Sunday: 10.00 – 19.00
Exceptional opening until 22.00:

  • Saturdays (except 24 and 31 December).
  • Fridays, from 11 November to 6 January (except 18 November and 16 Deember).
  • Bank Holiday (except 25 December and 1 January: Museum closed).
  • From 6 to 10 December.
  • Christmas: from 27 to 30 December and from 3 to 7 January.
Temporary exhibition halls, (level 0)
“Picasso and Chanel coincided in a particular time and place but, more importantly, they shared the same aesthetic and conceptual vision”

With Paula Luengo, curator of the exhibition.

/by

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

Temporary Exhibition

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

From 11 October 2022 to 15 January 2023

Pablo Picasso and Gabrielle Chanel worked together on two occasions, both with Jean Cocteau: on Antigone (1922), and on Serge Diaghilev’s Le Train Bleu (1924) for his Ballets russes. The artist and fashion designer first met in the spring of 1917, probably through Cocteau or Misia Sert, and Chanel became close and long-lasting friends with both, who introduced her to the Picasso’s circle. She socialised with the artist and his wife at a time when he was actively involved with Diaghilev’s company. Chanel became closely associated with the Parisian artistic and intellectual world of the day, to the extent of declaring that “it is artists who have shown me how to be exacting.” *

Once again bringing art and fashion together, the Museo Thyssen will be presenting an exhibition that explores the relationship between these two creative geniuses of the 20th century. Structured into four principal sections, it follows a chronological order approximately spanning the decade between 1915 and 1925.


The Chanel style and Cubism reveals the influence of that art movement on Chanel’s creations from her earliest, innovative designs: her use of a geometrical formal language, chromatic restraint and the Cubist aesthetic of the collage, expressed in clothes with straight, angular lines: her preference for black, white and beige; and her use of inexpensive fabrics with austere textures.

The second section, entitled Olga Picasso, focuses on Picasso’s numerous, beautiful portraits of his first wife, the Russian ballerina Olga Khokhlova who was one of Chanel’s devoted clients. Shown alongside these works are various ensembles from the designer’s early period, of which few examples survive. Antigone, a modern-day adaptation by Cocteau of Sophocles’s play, was first performed in Paris in 1922 with sets and masks by Picasso and costumes by Chanel, both of whom were inspired by classical Greece, as this section reveals. Le Train Bleu is the title of the fourth section and of the ballet created by Diaghilev in 1924 with a scenario by Cocteau, inspired by activities that were fashionable in the early 1920s, such as sunbathing and sport. Two Women Running along the Beach (The Race), a small gouache which Diaghilev encountered in Picasso’s studio, was transformed into the image for the work’s front cloth and the artist also accepted the commission to illustrate the programme. For her part, Chanel created costumes for the dancers, inspired by the sport outfits she created for herself and for her clients.

* Isabelle Fiemeyer, Coco Chanel. Un parfum de mystère, 1999, Paris, Éditions Payot & Rivages, « La plaque d’ébène », p. 146

Monday closed.
From Tuesday to Sunday: 10.00 – 19.00
Exceptional opening until 22.00:

  • Saturdays (except 24 and 31 December).
  • Fridays, from 11 November to 6 January (except 18 November and 16 Deember).
  • Bank Holiday (except 25 December and 1 January: Museum closed).
  • From 6 to 10 December.
  • Christmas: from 27 to 30 December and from 3 to 7 January.
Temporary exhibition halls, (level 0)
“Picasso and Chanel coincided in a particular time and place but, more importantly, they shared the same aesthetic and conceptual vision”

With Paula Luengo, curator of the exhibition.

/by

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

Temporary Exhibition

Picasso/Chanel | Museo Nacional Thyssen-Bornemisza

From 11 October 2022 to 15 January 2023

Pablo Picasso y Gabrielle Chanel trabajaron juntos en dos ocasiones, ambas con Jean Cocteau: en Antígona (1922) y en Le Train Bleu (1924) de Serge Diaghilev para sus Ballets rusos. La artista y la diseñadora de moda se conocieron en la primavera de 1917, probablemente a través de Cocteau o Misia Sert, y Chanel entabló una amistad íntima y duradera con ambos, quienes la introdujeron en el círculo de Picasso. Ella socializó con el artista y su esposa en un momento en que él participaba activamente en la compañía de Diaghilev. Chanel se asoció estrechamente con el mundo artístico e intelectual parisino de la época, hasta el punto de declarar que “son los artistas quienes me han enseñado a ser exigente”. *

Una vez más uniendo arte y moda, el Museo Thyssen presenta una exposición que explora la relación entre estos dos genios creativos del siglo XX. Estructurado en cuatro secciones principales, sigue un orden cronológico que abarca aproximadamente la década entre 1915 y 1925.

El estilo Chanel y el cubismo revela la influencia de ese movimiento artístico en las creaciones de Chanel desde sus primeros e innovadores diseños: el uso de un lenguaje formal geométrico, la contención cromática y la estética cubista del collage, expresada en prendas de líneas rectas y angulosas: su preferencia por el negro, blanco y beige; y su uso de telas económicas con texturas austeras.

La segunda sección, titulada Olga Picasso, se centra en los numerosos y hermosos retratos de Picasso de su primera esposa, la bailarina rusa Olga Khokhlova, que fue una de las clientas devotas de Chanel. Junto a estas obras se muestran varios conjuntos de la primera época del diseñador, de los cuales sobreviven pocos ejemplos. Antígona, una adaptación moderna de Cocteau de la obra de Sófocles, se representó por primera vez en París en 1922 con decorados y máscaras de Picasso y vestuario de Chanel, ambos inspirados en la Grecia clásica, como revela esta sección. Le Train Bleu es el título de la cuarta sección y del ballet creado por Diaghilev en 1924 con un escenario de Cocteau, inspirado en actividades que estaban de moda a principios de la década de 1920, como tomar el sol y el deporte. Dos mujeres corriendo por la playa (La carrera), un pequeño gouache que Diaghilev encontró en el estudio de Picasso, se transformó en la imagen del paño frontal de la obra y el artista también aceptó el encargo de ilustrar el programa. Por su parte, Chanel creó el vestuario de las bailarinas, inspirándose en los sport outfits que creaba para ella y para sus clientas.

* Isabelle Fiemeyer, Coco Chanel. Un parfum de mystère, 1999, París, Éditions Payot & Rivages, « La plaque d’ébène », p. 146

“Picasso y Chanel coincidieron en un tiempo y lugar particular pero, más importante aún, compartieron la misma visión estética y conceptual”

Con Paula Luengo, comisaria de la exposición.

/by
0 replies

Leave a Reply

Want to join the discussion?
Feel free to contribute!

Leave a Reply