“Picasso-Rutault. Grand écart” at the Hôtel Salé

Claude Rutault, Dé-finitio:méthode autoportrait en pied 2011, peinture sur toile 168x110 cm + 33x22 cm Courtesy Perrotin © Antoine Cadot

Claude Rutault, Dé-finitio:méthode un samedi matin à la grande jatte ou à port-en bessin adaptation sur un mur bleu clair, 2010 Peinture sur toile 256x355 cm/Courtesy Perrotin ©Antoine Cadot

Claude Rutault, Dé-finitio:méthode peinture-puzzle généralisé 1977-2010, Peinture sur panneaux de bois, Dimensions variables/Courtesy l'artiste et Perrotin

Claude Rutault, Dé-finition:méthode rien à lire 1990 Peinture sur toile, Dimensions variables/Courtesy l’artiste et Perrotin

Pablo Picasso, l'Ombre, Fusain, huile sur toile, peinture sur toile Vallauris, 1953 Paris, Musée national Picasso-Paris ©RMN-Grand Palai::Mathieu Rabeau © Succession Picasso-Gestion droits d'auteur

Pablo Picasso, Le jeune Peintre, Huile sur toile, Mougins, 1972, Paris, Musée national Picasso-Paris ©RMN-Grand Palai:: Mathieu Rabeau ©Succession Picasso-Gestion droits d'auteur

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Claude Rutault, Dé-finitio:méthode autoportrait en pied 2011, peinture sur toile 168x110 cm + 33x22 cm Courtesy Perrotin © Antoine Cadot
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Claude Rutault, Dé-finitio:méthode un samedi matin à la grande jatte ou à port-en bessin adaptation sur un mur bleu clair, 2010 Peinture sur toile 256x355 cm/Courtesy Perrotin ©Antoine Cadot
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Claude Rutault, Dé-finitio:méthode peinture-puzzle généralisé 1977-2010, Peinture sur panneaux de bois, Dimensions variables/Courtesy l'artiste et Perrotin
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Claude Rutault, Dé-finition:méthode rien à lire 1990 Peinture sur toile, Dimensions variables/Courtesy l’artiste et Perrotin
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Pablo Picasso, l'Ombre, Fusain, huile sur toile, peinture sur toile Vallauris, 1953 Paris, Musée national Picasso-Paris ©RMN-Grand Palai::Mathieu Rabeau © Succession Picasso-Gestion droits d'auteur
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Pablo Picasso, Le jeune Peintre, Huile sur toile, Mougins, 1972, Paris, Musée national Picasso-Paris ©RMN-Grand Palai:: Mathieu Rabeau ©Succession Picasso-Gestion droits d'auteur

#PARIS Picasso-Rutault. Grand écart is a dialogue between two different creative processes. Until March 24, the Picasso-Paris National Museum confronts a more traditional vision of painting, a canvas completed and signed by master Picasso, with that of Claude Rutault, who draws up a description of the work that is to be renewed.

Thus, in the 6 exhibition rooms of the Hôtel Salé, we are in direct contact with the installation of a painting, drawing or definitive sculpture by Picasso in dialogue with those of Rutault. His paintings without subject only have as a reality their presence, on the model of the definitions/methods that he introduces and develops since 1973.

For example, it takes four pieces by Rutault for one by Picasso in the first room to integrate the confrontation, or rather this marriage all in subtlety

In the second room, Rutault’s superb monochromes or the blind and silent Diptych answer Picasso’s violin, then the “suicide painting” posters n°9 and n°3 guide us to the fourth room. The scenography of this one gives here the feeling that the conceptual artist proposes a set, a staging of Picasso’s work “the painter and his model”

Then it is the sumptuous Rutault colours of the fifth room that amaze us, and lead us, like an outcome, towards “Le petit socle” of the last room, and pose as a pedestal of “La Femme à la poussette”

The confrontation of contemporary “classical” works with more “conceptual” ones also invites us to look at art history as an evolution of the work, the one that increasingly integrates the object, as an art of thought for Duchamp or as a mode of production for Rutault

In November 2018, the artist said, “The great difference between Picasso and me is actually that there is a rupture, a change in the regime of the work that summarizes the great difference between two modes of painting production. »

 

Picasso-Rutault. Large Gap

From November 20, 2018 to March 24, 2019

Picasso-Paris National Museum

5 Rue de Thorigny, 75003 Paris

Dominique Vautrin

Dominique Vautrin is a French photographer. Influenced by American street photography, he develops during his various projects, a dark work that depicts a society in a phase of anonymization. The c...

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