#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
5 Rue de Thorigny, 75003 Paris