Picasso 1932: Love, Fame, Tragedy - A Talk at Bell House

“For those who know how to read I have painted my autobiography”


Last week, Rosalind Whyte came to Bell House again to talk about the new Picasso exhibition at the Tate Modern, as part of the ongoing series of art lectures at Bell House. The lecture on Picasso 1932: Love, Fame, Tragedy was completely sold out, and for good reason.

1932 was a marvellous year for Picasso; it is unsurprising the Tate Modern have curated a whole exhibition focused on it. Wondering whether to go see Picasso at the Tate? Already braved the crowds? Read on for four surprising facts about the art  in this exhibition…


1)    The autobiographical nature of the paintings in this exhibition are fascinating. Rosalind Whyte told us that Picasso said, “The work one does is a kind of way of keeping a diary”. Indeed, Picasso 1932: Love, Fame, Tragedy includes works that span Picasso’s meteoric rise to fame in the art world, and carefully depicts his passionate love affair with Marie-Therese. It was an “intensely creative period” in Picasso’s career, and some of his works were completed astoundingly quickly.


2)    Tension between opposing forces is a common thread drawing this exhibition together. Some are more obvious, such as the opposition of Olga (Picasso’s wife) and Marie-Thérèse (Picasso’s mistress) in his work earlier in the year. Others are more subtle, and only apparent when explained by an expert such as Rosalind. For example, Picasso’s own struggles with his development as an artist bleed through– his dilemma over whether to pursue sculpture or painting (a tough choice also faced by Amedeo Modigliani)


3)    Picasso was influenced by an octopus. Yep, an octopus. Not long before 1932, Picasso’s friend Jean Painleve shot The Octopus. Whyte believes this may have had a profound effect on Picasso, as can be seen in his portrayals of Marie- Thérèse as an almost octopus-like form in Reclining Nude, 1932. Indeed, Painleve’s film is shown alongside these works in the exhibition.


4)    Playing with reflections and a seemingly double vision was common when painting Marie- Thérèse. Often painted as having a double face, Picasso was able to gently suggest the many dimensions of his lover. But what was the purpose of this? Was it to invoke ideas of the sun and moon? Chronicle how she aged? Or suggest that, with all these facets, Marie- Thérèse was everything Picasso was looking for in a woman?


1932 was charged with love, lust, loss and fame for Picasso. Rosalind Whyte took all of us at the Bell House talk on a fascinating journey; guiding us through these tumultuous months, and the wonderful art that came of it.

Our series of art lectures continue later in May, with a talk on the Royal Academy’s ‘Charles I: King and Collector’, given by Graham Greenfield. Buy tickets below.