I was privileged to be invited to the opening of a superb art exhibition in Doha, Qatar, to celebrate two great artists – Pablo Picasso (1881-1973) and Alberto Giacometti (1901-1966). Drawing on loans from the Musée National Picasso and the Foundation Giacometti in Paris and from other international collections, some 80 exhibits were on show, including masterpieces of painting and sculptures of both artists.

Bust of Man (Picasso) and Self Portrait (Giacometti)Bust of Man (Picasso) and Self Portrait (Giacometti)

The first question that came to mind was “Why combine the works of these two great artists, especially considering their age difference (Picasso was 20 years older)?” The answer is in the foreword of the exhibition bro­chure, which says:

“The exhibition’s design and direction have been shaped by two years of important research. Drawing on archives and historical texts the curators have shed new light on the nature of the relationship between the two artists, initially very friendly, eventually more formal but respectful. While reminding us that each artist had quite different personalities, the exhibition highlights how their work shares a spirit of liberty and invention across mediums”.

Giacometti arrived in Paris in 1922 where he had formal training in sculpture under the direction of Antoine Bourdelle. There he saw an exhibition of works by Picasso, which convinced him to abandon the classical style and instead adopt the stylised lines and multifaceted Cubist planes of the older artist.

Why combine the works of these two great artists especially considering their age difference?

The two artists were introduced by Joan Miro in 1931. They became close and took parallel trajectories. That year Giacometti became in­volved with the Surrealist movement characterised by unexpected juxtapositions in ordinary scenes that challenge the viewer’s imagination.

Picasso never joined the group but he clearly followed the movement and adopted elements rela­ted to surrealism in his works. Both artists created dreamlike images and distorted figures clear­ly visible in some of the exhibits.

Their shared idealism is clear in various works on show. For example, they were both obsessed with their relationship with their partners, as seen in various exhibits of Picasso’s partner, Dora Maar, and Giacometti’s beloved Annette.

Another shared interest was their concern with the inevitability of death, again clearly demonstrated in bizarre sculptures on show of skulls by both artists.

Both artists moved away from Surrealism. In 1935, Giacometti returned to representation from models, while Picasso started work on his famous canvas Guernica that denounced the atrocities of the Spanish Civil War. World War II interrupted their close relationship. Giacometti mov­­ed to Switzerland while Picasso continued working in Paris.

After the war they met again in Paris where they would see each other regularly. Their work from this time reconnected with a realism based on daily life. Giacometti created his famous Dog, seen in this exhibition, based on the slender silhouette of Picasso’s Afghan hound.

Child with Doves (Picasso)Child with Doves (Picasso)

However, by now Giacometti was becoming increasingly disenchanted by Picasso’s unabashed star status, and by 1951 the two broke their relationship. Picasso had by now embarked on an in­tense creative period, while Giacometti conceived his famous slender Walking Man and Tall Women.

Despite the cooling of their relationship the two still remained friendly and appreciated each other’s artistic genius. When Giacometti died in 1966, Picasso sent heartfelt condolences to Annette, his wife. That year, a large exhibition of Picasso’s sculpture works was held in Paris. He died in 1973.

The Qatari government has for several years been pursuing a cultural policy designed to en­hance its ‘soft power’ on the global map and turn Doha into a major tourist destination. With Picasso’s and Giacometti’s status as the two giants of Modern Art and the most expensive modern artists in the world, the exhibition has been particularly welcome for Qatar’s burgeoning museum industry.

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