Carles Casagemas. The Artist Beneath the Myth | Museu Nacional d'Art de Catalunya
4, Pablo Picasso, Inside Els Quatre Gats (Àngel and Mateu F. de Soto with Casagemas), – Center left: Carles Casagemas, Couple, ca. Pablo Picasso met the model Germaine Gargallo Florentin Pichot in Paris in liaison with Picasso's best friend Carles or Carlos Casagemas () to Pallarès that Casagemas had not consummated the relationship. The ties that bind: Corsi, Montgomery and Bre Payton all Mueller accusers Pablo Picasso Painting of his friend Carlos Casagemas.
However, this would have done nothing to free ourselves from the vague, imprecise image that has always accompanied the Catalan artist.
After a rigorous process of research and selection of works had been completed, during which a large number of forgeries were discarded, the exhibition finally featured 38 out of around 50 pieces by Casagemas, which had been located. To be precise, the show includes seven oils and 31 drawings, presented in a space of modest, but adequate dimensions, some square metres in area, delicately lighted to create an intimate, secluded, bluish, nocturnal environment fig.
Carles Casagemas. The Artist Beneath the Myth
Breaking from what would be probably the most conventional approach in an anthological solo exhibition devoted to a particular artist, Carles Casagemas: The Artist Beneath the Myth was not organised by chronological period.
Rather, the show was arranged, in the main, according to thematic and stylistic criteria, to form seven sections that feature principally landscapes and portraits.
The first section was entitled A Broken Link: The Landscape, and in an allusion to its theme, included four landscapes painted in oil, three of them important discoveries. These pieces explained the title of the section, which suggested that the landscape genre was a link in an evolutionary chain that enabled Casagemas to feel free to explore, experiment, and grow as a painter. Several reviews and newspaper articles also speak of other landscapes that have unfortunately been lost or have not yet been located, but the first landscapes in this exhibition were sufficient in themselves to provide clear testimony to the skill of an artist who, we can now justly claim, has been unjustly disregarded.
The Death of Casagemas, by Pablo Picasso
An example of this relation is a painting by Joaquim Mir entitled La catedral dels pobres [The Beggars Cathedral] reproduced on the wall label for the painting Although several historians, including Alexandre Cirici, had already mentioned Casagemas as being a member of the Saffron Group, The Market is the first and only solid testimony to these probable youthful links with Joaquim Mir, Isidre Nonell, and Ramon Pichot.
In both cases, these oil paintings stand out for their thick, generous brushstrokes, executed from left to right Casagemas was left-handed to form daring landscapes that reflect a free, pre-Fauve use of color. The second section contained nine works that revealed a Casagemas who was fully integrated into the Barcelona art of the late nineteenth century fig. The central sections in this exhibition contained several paintings and drawings that can be dated to the brief period from to In the museum, we conserve some of the portraits that Picasso did of his friend during their years of friendship, among which being the magnificent oil painting Portrait of Carles Casagemas, recently restored by the team of the museum, which is exhibited in the gallery 4 alongside a sketch done with charcoal on paper.
The painter Casagemas and Picasso.
Pen and sepia ink, watercolour and gouache on paper. The asymmetrical relation between Casagemas and Germaine started deteriorating along with his mental state, who at the same time increased considerably his consumption of alcohol.
To such an extent that once when she mocked Casagemas, he threatened to commit suicide.
Far from sorting out his amorous problems, after some weeks the two friends ended up going their separate ways: Picasso would go to Madrid and Casagemas, after a brief visit to Barcelona, would return once again to Paris. They neversaw each other again.
The death of his friend profoundly affected Picasso, who produced some works about his death and his burial and subsequently more portraits. It is said that his suicide generated the blue period of the artist and in fact Casagemas is the main protagonist of La Vie ,the major work of this period, of which an exhibition was held in in the museum.