In 1949, the Man with Sheep sculpture, donated by Picasso to the city, is installed in the unused chapel: the idea is born, then, to paint this place but it is really revived only in 1951, when the 70th birthday of Picasso is celebrated in the chapel.
The genesis of War and Peace is part of a twofold context, political and artistic: political because Picasso, then a member of the Communist Party, is vice-president of the World Committee for Peace and Artistic because, as Claude Roy has underlined "Picasso would not be sorry to have his turn". Indeed, the creations of Matisse for the Chapel of the Rosary in Vence and those of Chagall for the Chapel of Our Lady of All-Graces of Assy have created an emulation in which Picasso takes part. However, unlike the two painters, Picasso excluded any religious character to his project and designs the decor of a Temple of Peace.
If the realization is fast, it is preceded by 300 preparatory drawings between April and September 1952. Picasso realizes his work for the vestibule of the chapel, whose entry was, at the time, the opposite of the current one. Thus, the starting point of the work is discovered from this old point of entry.
Unlike other "political" paintings by Picasso, this work is not linked to a specific historical event but it is part of a certain timelessness. At first, the visitor sees the War, personified by an anonymous figure who is the first image that has imposed on Picasso, that of "the lanky and bumpy race of one of these provincial hearses". The Warrior of Peace, carrying the attributes of Justice, stops this advance. On his shield is painted the dove, which Picasso had made on the posters of peace movements the communist symbol of Peace, before it became its universal symbol. Under the dove, one sees in transparency, the Face of the Peace, that of Françoise Gilot which was covered with a semi-transparent glaze. This character marks the transition between the two panels. In the second panel, Peace, is initially represented as the resumption of life: the mother breastfeeding her child, the fire that nourishes, the creation / the writing, in opposition in the themes and in the pictorial treatment with the figures of the War sign. Picasso, with Peace, fears falling into banality. This is why in the second part of the panel, Peace is represented as a utopia but a utopia based on a fragile balance.
War and Peace is composed of 18 isorel panels, screwed on a cradle-frame in curved wood. The isorel was chosen for its flexibility qualities. Scaffolding had been set up at Fournas to paint the panels flat. The work was completed in December 1952 but it will not be permanently installed in the chapel until 1954. In fact, in 1953, all the "political" works (Guernica, 1937, the Charnier, 1945, Massacre in Korea, 1951) by Picasso are exhibited in Italy. In 1956, Picasso offered the panels to the French State. The following year, the chapel becomes national museum. The third panel, which condemns access to the old gateway, is painted, in a different bill, in 1958. The official inauguration takes place, on September 19, 1959, in the absence of Picasso.
Picasso's last political work, War and Peace, is an eminent expressive work, but it is also a highly accomplished work in which Picasso, with perfect mastery of his art, plays on the effects of dullness and transparency as well as on technique. drops and giclures in opposition to the notion of "good-painting" of the Renaissance.
Musée Picasso (Vallauris)
Le Musée Picasso de Vallauris abrite deux œuvres de Picasso La Guerre et La Paix, installées dans la chapelle du château, place de la Libération, à Vallauris, Alpes-Maritimes, depuis 1959.
Le choix par Picasso de la chapelle pour l'édification de son temple de la Paix s'inscrit dans un mouvement de redécouverte de l'art sacré, qui connaît un indéniable engouement dans les années 1950 : Matisseachève la décoration de la Chapelle du Rosaire de Vence, Chagall - ainsi que Bonnard, Léger, Germaine Richier... - participe à la décoration de l'église Notre-Dame de Toute Grâce du Plateau d'Assy, et commence à travailler à son monumental Message Biblique, qu'il destine d'abord à une autre chapelle vençoise avant d'en faire don à l'État. Pablo Picasso, conscient du profond symbolisme du lieu et séduit par les rigoureuses proportions de l'austère bâtiment, choisit la chapelle du château de Vallauris. L'édifice ancien contribue à donner à La guerre et la Paix, avec ses évidentes références à l'art antique, voire à l'art rupestre, un ancrage sacré et universel.
- « Il ne fait pas très clair dans cette chapelle, déclare l'artiste à Claude Roy, et je voudrais qu'on ne l'éclaire pas, que les visiteurs aient des bougies à la main, qu'ils se promènent le long des murs comme dans des grottes préhistoriques, découvrant les figures, que la lumière bouge sur ce que j'ai peint, une petite lumière de chandelle. »
- ピカソ美術館 （ピカソびじゅつかん、仏：Musée Picasso） は、フランス南部の地中海に近い都市ヴァロリスにある美術館。「戦争と平和 国立ピカソ美術館 （Musée National Picasso, La Guerre et La Paix）」 ともいう。
概要[編集]
ピカソ美術館は、フランス南部プロヴァンス＝アルプ＝コート・ダジュール地域圏のアルプ＝マリティーム県にある都市ヴァロリスにある国立美術館。画家パブロ・ピカソの代表作『戦争と平和』を所蔵することから、「戦争と平和 国立ピカソ美術館」ともいう。美術館の建物はヴァロリス城と呼ばれ、12世紀に建造された女子修道院を、16世紀にルネサンス様式の城館に改築したものである [1][2]。建物内には、ピカソ美術館のほか、陶芸美術館、マニエリ美術館が入っている。ヴァロリスは、地中海に近い山あいにある陶芸の町で、ピカソは、1948年から1955年までこの地に滞在し、絵画、彫刻、陶器などの制作に励んだ [3]。ピカソの70歳の誕生日を祝福した町の人々に応えて、1952年、彼が制作した巨大な壁画が『戦争と平和』である [3]。『戦争と平和』は、美術館内にある礼拝堂のアーチ状の壁面に配置されている。収蔵品[編集]
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