Picasso 1932: Love, Fame and Tragedy at Tate Modern

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One of the best things about Tate Modern’s Picasso exhibition is it contains some terrible art. I mean real howlers. Paintings in which we see the modern master fluffing his lines and losing his form. It’s such a relief. Not because we learn he is fallible like the rest of us – we’re not idiots, we know artists aren’t gods – but it shows the exhibition’s curators had the confidence and integrity to tell the whole story of Pablo Picasso in 1932 – his so-called annus mirabilis – and not palm us off with a superficial Now That’s What I Call Picasso ’32: Greatest Hits compilation.

Source: Review: Picasso at Tate Modern β˜…β˜…β˜…β˜…β˜…

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