Picasso en su estudio: la escultura comparada

Rocío Robles Tardío

doi:10.24310/ba.45.2024.20116

Authors

Rocío Robles Tardío Universidad Complutense de Madrid Spain

DOI:

https://doi.org/10.24310/ba.45.2024.20116

Keywords:

Picasso, Sculpture, Boisgeloup, Plaster cast, Antiquity, Mougins

Abstract

This article takes as a starting point the plaster cast copies of two sculptures dating from Antiquity and the Renaissance periods visible in at least two of Picasso’s studios and which he never disposed of. One is a Greek sculpture of a female figure and the other, by Michelangelo, is one of two prisoners pertaining to the project for Pope Julius II’s tomb. For establishing the argument, a set of photographic records referring to two specific places and moments in the artist’s life –Boisegeloup in the 1930s and Mougins where he lived for the last twelve years before his death– will be considered and studied here. From that, we intend to address the inclination to the culture of the plaster cast copies and analyse their significance within a more complex approach to Picasso’s studios, his consideration as an artist, and especially as a sculptor in plaster.

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