Hybrid encounters
Refraiming Picasso´´´ s Suite Vollard
DOI:
https://doi.org/10.24310/re.14.2023.16737Palabras clave:
Clasicismo, Híbrido, Neoclasicismo, Picasso, Suite VollardResumen
The 50th year of Picasso’s death affords an opportunity to look again at his approach to art. My article reconsiders his Suite Vollard (1930-37), a series of 100 prints that are habitually described as somehow at odds with modernism, as representative of a legitimately ‘naturalistic’ or ‘traditional style’, and having almost nothing to do with his earlier ‘mode(s)’ of working. As demonstrated, however, the shifting, fragmented and equivocating nature of his print portfolio indicates a far more hybrid form of creativity. It is akin, for example, to the hybridizations of the artist’s Demoiselles d’Avignon (1907) and his collages and papiers collés c. 1912. As such, I resist the tendency to view Picasso’s print series through the rather monocular lens of a definitively ‘classical’ or ‘neo-classical’ style’. In trying to unsettle and reframe the languages and constructs that have consistently plagued Picasso’s Suite, I suggest that its 100 plates are part of a wider stratagem to undo the commonplace occurrences that have always defined the histories of art.
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