Picasso Black and White Opens at the Guggenheim in … · Picasso Black and White Opens at the Guggenheim in October . ... and Patricia and George ... bellas artes de San Fernando)

Picasso Black and White Opens at the Guggenheim in October Major Exhibition Offers Unprecedented Examination of Picasso’s Black-and-White Palette with 118 Paintings, Sculptures, and Works on Paper, Including U.S. Premiere of 38 Works Exhibition Will Travel to the Museum of Fine Arts, Houston, February 24–May 27, 2013 Exhibition: Picasso Black and White NY Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York Exhibition Dates: October 5, 2012–January 23, 2013 Press Preview: Thursday, October 4, 2012, 9 am–12 pm (note early start time) (NEW YORK, NY – October 4, 2012) — Picasso Black and White, the first major exhibition to focus on the artist’s lifelong exploration of a black-and-white palette throughout his prolific career, will be presented at the Guggenheim Museum from October 5, 2012, to January 23, 2013. The exhibition features 118 paintings, sculptures, and works on paper from 1904 to 1971, and will offer new and striking insights into Pablo Picasso’s vision and working methods. This chronological presentation comprises significant loans drawn from private and public collections across Europe and the United States, five of which have never before been exhibited or published, including works from the Picasso family and other lenders that will be on public view for the first time. Thirty-eight of these artworks will have their first U.S. presentation. Picasso Black and White is organized by Carmen Giménez, Stephen and Nan Swid Curator of Twentieth-Century Art, Solomon R. Guggenheim Museum, with assistance from Karole Vail, Associate Curator, Solomon R. Guggenheim Museum. The exhibition is accompanied by a fully illustrated catalogue with an essay by Ms. Giménez as well as essays by Dore Ashton, Olivier Berggruen, and Richard Shiff. This exhibition is sponsored by Bank of America. Major support is provided by the Picasso Black and White Leadership Committee: Christina and Robert C. Baker, Chairs; Acquavella Galleries; The Aaron I. Fleischman Foundation; Gagosian Gallery; J. Ira and Nicki Harris Foundation; The Lauder Foundation—Leonard and Evelyn Lauder Fund; Phyllis and

William Mack; Nancy C. and Richard R. Rogers; Stephen and Nan Swid; and Patricia and George Weiss. Additional support is provided by the National Endowment for the Arts, the Blanche and Irving Laurie Foundation, and the Juliet Lea Hillman Simonds Foundation. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Exhibition Overview Few artists have exerted as considerable an influence over subsequent generations as Pablo Picasso (1881–1973). While his work is often seen through the lens of his diverse styles and subjects, the recurrent motif of black, white, and gray is frequently overlooked. Picasso Black and White presents a unique and illuminating perspective on a lesser-known but fascinating aspect of his formidable body of work. Claiming that color weakens, Picasso purged it from his work in order to highlight the formal structure and autonomy inherent in his art. According to Carmen Giménez, his repeated minimal palette correlates to his obsessive interest in line and form, drawing, and monochromatic and tonal values, while developing a complex language of pictorial and sculptural signs. The recurrent motif of black, white, and gray is evident in his Blue and Rose periods, pioneering investigations into Cubism, neoclassical figurative paintings, and retorts to Surrealism. Even his later works that depict the atrocities of war, allegorical still lifes, vivid interpretations of art-historical masterpieces, and his sensual canvases created during his twilight years continued to apply a reduction of color. Picasso Black and White will demonstrate how the artist was continuously investigating, inventing, and drawing in somber and austere monochromatic tones throughout his career. Managing a complicated composition without having to organize contrasts of color, Picasso created such masterpieces as The Milliner’s Workshop (1926, a pivotal black-and-white canvas on loan for the exhibition from the Musée national d’art moderne/Centre de création industrielle, Centre Pompidou, Paris), The Charnel House (1944–45, on loan from the Museum of Modern Art, New York), and The Maids of Honor (Las Meninas, after Velázquez) (1957, on loan from the Museu Picasso, Barcelona). Ms. Giménez explains that the graphic quality of Picasso’s black-and-white works harks back to Paleolithic cave paintings created from charcoal and simple mineral pigments, to the tradition of grisaille, and to European drawing. Picasso used this distinctive motif to explore a centuries-long tradition of Spanish masters, such as El Greco, José de Ribera, Francisco de Zurbarán, Diego Velázquez, and Francisco de Goya, whose use of black and gray was predominant. Picasso Black and White is organized chronologically along the Guggenheim ramps. The exhibition opens with Woman with Vase (1933), one of two works installed on the rotunda floor. Picasso made an original plaster cast from which he molded a cement version, and displayed this later iteration at the 1937 Paris World’s Fair in front of the Spanish Pavilion. The cement sculpture disappeared when the fair was dismantled. Two bronze copies molded from the plaster were subsequently cast in 1972–73. Picasso donated one of these two copies to the people of the Spanish Republic, which currently belongs to the Museo nacional de arte Reina Sofía in Madrid. With the assistance of Ms. Giménez, it finally arrived in Spain in 1985. A second bronze version of this sculpture stands above Picasso’s tomb at the Château de Vauvenargues in the South of France.

Five major sculptures, spanning from 1909 to 1941, will be on view in the High Gallery and are examples of his most radical works. Among the many works on loan from public collections are Picasso’s Man, Woman, and Child (1906, on loan from the Kunstmuseum Basel), and Head of a Horse, Sketch for Guernica (1937, on loan from the Museo nacional centro de arte Reina Sofía, Madrid), which is his largest sketch for Guernica (1937). Exhibition highlights from private collections include: Female Nude with Guitar (1909), a rare, large charcoal drawing on canvas that remained in Picasso’s collection until his death; The Women of Algiers (version L) (1955), an interpretation of an art-historical masterpiece; The Studio at La Californie (1956), a monumental canvas; Seated Woman (Jacqueline) (1962), an important nude in tones of black and white; and five works that will be on public view for the very first time, such as Draped Nude Seated in an Armchair (1923) and Boat and Figures (1938). Exhibition Tour Following its New York presentation, a major part of the exhibition will travel to the Museum of Fine Arts, Houston, where it will be on view from February 24 to May 27, 2013. About the Curator Carmen Giménez was recently inducted into Spain’s Royal Academy of Fine Arts (Real Academia de bellas artes de San Fernando) as Academician of Honor, and is the first woman to hold this title. Ms. Giménez is internationally recognized for organizing many acclaimed Guggenheim exhibitions as well as presentations throughout Europe, including the inaugural exhibition References and Identity: An Artistic Meeting in Time at the Museo nacional centro de arte Reina Sofía in Madrid, and the inaugural exhibition El Picasso de los Picasso (Picasso’s Picassos) at the Museo Picasso Málaga, where she served as director from 2003 to 2004. Ms. Giménez joined the Guggenheim in 1989, and has since curated such landmark exhibitions as: Picasso and the Age of Iron (New York, 1993); Richard Serra Escultura 1985–1999 (Bilbao, 1999); The Global Guggenheim: Selections from the Extended Collection (New York, 2001); Calder: Gravity and Grace (Bilbao, 2003); Constantin Brancusi: The Essence of Things (New York, 2004); David Smith: A Centennial (New York, 2006); Spanish Painting from El Greco to Picasso: Time, Truth, and History (New York, 2006–07); Cy Twombly (Bilbao, 2008–09); and Picasso Black and White (New York, 2012–13). Education and Public Programs Picasso Black and White will be accompanied by a full roster of public programs. All ticketed programs are followed by receptions, and are $10, $7 members, and free for students with ID and RSVP, unless otherwise noted. Details and registration information may be found at guggenheim.org/publicprograms. Film Screenings Fridays, October 5, 2012–January 18, 2013, 1 pm (Except November 23) Filmed through glass and transparent canvas, the rare documentaries Visit to Picasso (1949, dir. Paul Haesaerts) and The Mystery of Picasso (1956, dir. Henri-Georges Clouzot) provide an exceptional portrait of the artist in the throes of creation. Free with museum admission. Visit guggenheim.org/ filmscreenings for a complete schedule. Artist to Artist: Koons and Picasso

Friday, October 26, 6:30 pm Jeff Koons discusses his enduring creative fascination with Pablo Picasso, in a lively dialogue with the art historian Pepe Karmel, Associate Professor, Department of Art History, New York University. Picasso: A Conversation Friday, November 2, 6:30 pm Carmen Giménez, Stephen and Nan Swid Curator of Twentieth-Century Art, Guggenheim Museum, and curator of Picasso Black and White, engages in conversation about the Spanish master and his lifelong exploration of a black-and-white palette with Diana Widmaier Picasso, art historian, co-curator of Picasso and Marie-Thérèse L’Amour fou (Gagosian Gallery, New York, 2011), and granddaughter of the artist, and Gary Tinterow, Director of the Museum of Fine Arts, Houston, as well as curator and author of notable Picasso exhibitions and publications. Due to unforeseen personal circumstances we regret to announce that Pierre Daix is unable to participate in this program as previously planned. Variations in Black and White Tuesday, January 8, 6:30 pm Susan Galassi, Senior Curator, The Frick Collection, considers the special qualities of Pablo Picasso’s masterpieces depicted in black-and-white drawings, and investigates the translation between mediums and color palettes. Monographic Motifs: One Artist, One Theme, 1900–1970 Tuesday, January 22, 2 pm A series of talks by emerging scholars explores artists’ extended engagement with a single form or theme. Hosted by Guggenheim Museum curators Tracey Bashkoff, Curator, Collections and Exhibitions; Carmen Giménez, Stephen and Nan Swid Curator of Twentieth-Century Art; Vivien Greene, Curator, Nineteenth- and Early Twentieth-Century Art; and Karole Vail, Associate Curator; with Kenneth Silver, Professor of Modern Art, New York University, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, the Museum of Modern Art. About the Solomon R. Guggenheim Foundation Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The global network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has expanded to include the Guggenheim Museum Bilbao (opened 1997), the Deutsche Guggenheim in Berlin (1997–2013), and the Guggenheim Abu Dhabi currently under development. Looking to the future, the Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum. More information about the foundation can be found at guggenheim.org. VISITOR INFORMATION Admission: Adults $22, students/seniors (65+) $18, members and children under 12 free. Admission includes an audio tour of Picasso Black and White in English and Spanish, in addition to an audio tour

presenting highlights from the Guggenheim’s permanent collection and information about the building, available in English, French, German, Italian, and Spanish. Museum Hours: Sun–Wed, 10 am–5:45 pm; Fri, 10 am–5:45 pm; Sat, 10 am–7:45 pm; closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. Throughout the duration of Picasso Black and White, the museum will offer extended hours on Sundays and Mondays from 10 am until 8 pm, October 5 through January 23, with the exception of holidays on December 24 and 31. For general information call 212 423 3500 or visit the museum online at: guggenheim.org twitter.com/guggenheim facebook.com/guggenheimmuseum youtube.com/guggenheim flickr.com/guggenheim_museum foursquare.com/guggenheim #1253 October 4 (Updated from July 31, 2012) FOR ADDITIONAL INFORMATION CONTACT Solomon R. Guggenheim Museum Betsy Ennis, Director, Media and Public Relations Lauren Van Natten, Associate Director, Media and Public Relations 212 423 3840 [email protected] Museum of Fine Arts, Houston Mary Haus, Director, Marketing and Communications, [email protected] Dana Mattice, Publicist, [email protected] 713 639 7554

Guggenheim Museum Announces Extended Hours for Picasso Black and White Museum to Open until 8 pm Most Sunday and Monday Evenings from October through January

(New York, NY – September 11, 2012) – On the occasion of the fall exhibition Picasso Black and White, the Solomon R. Guggenheim Museum will remain open for over two additional hours on select evenings for the full fifteen weeks of the exhibition, which is on view from October 5, 2012, through January 23, 2013. The extended hours will be offered on Sundays and Mondays, with the exception of holidays on December 24 and 31, from 10 am until 8 pm. During the late evenings, the museum store will be open until 8:30 pm, and both Cafe 3 and the Wright restaurant, serving a full bar and snack menu, will be open until 7 pm.

The supplemented evening hours will offer visitors an opportunity to view the first major exhibition to focus on Pablo Picasso’s lifelong exploration of a black-and-white palette throughout his career, represented in 118 paintings, sculptures, and works on paper, including many works that have never before been exhibited or published. Other exhibitions on view will include: Rineke Dijkstra: A Retrospective, through October 8; A Long-Awaited Tribute: Frank Lloyd Wright’s Usonian House and Pavilion, through February 13, 2013; Now’s the Time: Recent Acquisitions, from November 2, 2012, through January 2, 2013; The Deutsche Bank Series at the Guggenheim: Gabriel Orozco: Asterisms, from November 9, 2012, through January 13, 2013; and Kandinsky 1911–1913. Details can be found at guggenheim.org/upcoming. The museum will be open on Sundays and Mondays from 10 am until 8 pm on the following dates: Sunday, October 7, and Monday, October 8 Sunday, October 14, and Monday, October 15 Sunday, October 21, and Monday, October 22 Sunday, October 28, and Monday, October 29 Sunday, November 4, and Monday, November 5 Sunday, November 11, and Monday, November 12 Sunday, November 18, and Monday, November 19 Sunday, November 25, and Monday, November 26 Sunday, December 2, and Monday, December 3

Sunday, December 9, and Monday, December 10 Sunday, December 16, and Monday, December 17 Sunday, December 23 Sunday, December 30 Sunday, January 6, and Monday, January 7 Sunday, January 13, and Monday, January 14 Sunday, January 20, and Monday, January 21 In addition, the museum will be open on Thursday, December 27, a day of the week in which the Guggenheim is typically closed, from 10 am until 5:45 pm. This exhibition is sponsored by Bank of America. Major support is provided by the Picasso Black and White Leadership Committee: Christina and Robert C. Baker, Chairs; Acquavella Galleries; The Aaron I. Fleischman Foundation; Gagosian Gallery; J. Ira and Nicki Harris Foundation; The Lauder Foundation—Leonard and Evelyn Lauder Fund; Phyllis and William Mack; Nancy C. and Richard R. Rogers; Stephen and Nan Swid; and Patricia and George Weiss. Additional support is provided by the National Endowment for the Arts, the Blanche and Irving Laurie Foundation, and the Juliet Lea Hillman Simonds Foundation. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. VISITOR INFORMATION Admission: Adults $22, students/seniors (65+) $18, members and children under 12 free. Admission includes an audio tour of Picasso Black and White in English or Spanish and an audio tour with highlights of the Guggenheim’s permanent collection and building available in English, French, German, Italian, and Spanish. Museum Hours: Unless noted above, Sun–Wed, 10 am–5:45 pm; Fri, 10 am–5:45 pm; Sat, 10 am–7:45 pm; closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. For general information call 212 423 3500 or visit the museum online at: guggenheim.org twitter.com/guggenheim facebook.com/guggenheimmuseum youtube.com/guggenheim flickr.com/guggenheim_museum foursquare.com/Guggenheim #1259 September 11, 2012 FOR ADDITIONAL INFORMATION CONTACT Lauren Van Natten, Associate Director, Media and Public Relations Solomon R. Guggenheim Museum 212 423 3840 [email protected]

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PRESS IMAGES

Picasso Black and WhiteOctober 5, 2012–January 23, 2013Solomon R. Guggenheim Museum

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Pablo PicassoWoman Ironing (La repasseuse)Bateau-Lavoir, Paris, spring 1904Oil on canvas, 116.2 x 73 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Kristopher McKay © The Solomon R. Guggenheim Foundation, New York

Pablo PicassoMan, Woman, and Child (Homme, femme et enfant)Paris, fall 1906Oil on canvas, 115.5 x 88.5 cmKunstmuseum Basel, Gift of the artist to the City of Basel, 1967 © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Martin P. Bühler/ Kunstmuseum Basel

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Pablo PicassoThe Milliner’s Workshop (Atelier de la modiste)Rue La Boétie, Paris, January 1926Oil on canvas, 172 x 256 cmMusée national d’art moderne/Centre de création industrielle, Centre Pompidou, Paris, Gift of the artist, 1947© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: © CNAC/MNAM/Dist. Réunion des Musées Nationaux/Art Resource, NY

Pablo PicassoMan with Pipe (L’homme a la pipe)Paris, May 1923Oil, pencil, and india ink on canvas, 130 x 97 cmPrivate collection, Courtesy Fundacion Almine y Bernard Ruiz-Picasso para el Arte© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Eric Baudouin

Pablo PicassoBust of a Woman (Marie-Thérèse) (Buste de femme [Marie-Thérèse])Boisgeloup, 1931Plaster, 78 x 46 x 48 cmCollection of Mr. and Mrs. Herbert Klapper, New York© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Courtesy Acquavella Galleries

Pablo PicassoAccordionist (L’accordéoniste)Céret, summer 1911Oil on canvas, 130.2 x 89.5 cmSolomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, By gift© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Kristopher McKay © The Solomon R. Guggenheim Foundation, New York

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Pablo PicassoHead of a Horse, Sketch for Guernica (Tête de cheval, étude pour Guernica)Grands-Augustins, Paris, May 2, 1937Oil on canvas, 65 x 92 cmMuseo Nacional Centro de Arte Reina Sofía, Madrid, Bequest of the artist© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: © Archivo fotográfico Museo Nacional Centro de Arte Reina Sofía, Madrid

Pablo Picasso Head of a Woman, Right Profile (Marie-Thérèse) (Tête de femme, profil droit [Marie-Thérèse])Boisgeloup, July 19, 1934Oil and charcoal on canvas, 64.8 x 49.5 cmCollection of Aaron I. Fleischman© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Courtesy Gagosian Gallery

Pablo Picasso Study for Sculpture of a Head (Marie-Thérèse) (Etude pour sculpture d’une tête [Marie-Thérèse])Boisgeloup, summer 1932Charcoal on canvas, 92 x 73 cmFondation Beyeler, Riehen/Basel© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Peter Schibli, Basel

Pablo PicassoMarie-Thérèse, Face and Profile (Marie-Thérèse, face et profil)Paris, 1931Oil and charcoal on canvas, 111 x 81 cmPrivate collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Béatrice Hatala

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Pablo Picasso Reclining Nude (Grand nu couché)Grands-Augustins, Paris, September 30, 1942Oil on canvas, 129.5 x 195 cmStaatliche Museen zu Berlin, Nationalgalerie, Museum Berggruen© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: bpk, Berlin/Nationalgalerie, Museum Berggruen, Staatliche Museen/Jens Ziehe/Art Resource, NY

Pablo Picasso Head of a Woman (Dora) (Tête de femme [Dora])Grands-Augustins, Paris, 1941 (cast 1958)Bronze, 80 x 40 x 55 cm Edition of 4 (unnumbered), cast by Susse Fondeur, Paris Fondation Beyeler, Riehen/Basel© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Peter Schibli, Basel

Pablo Picasso Seated Woman in an Armchair (Dora) (Femme assise dans un fauteuil [Dora])Grands-Augustins, Paris, May 31, 1938Oil on canvas, 188.5 x 129.5 cm Fondation Beyeler, Riehen/Basel © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Robert Bayer, Basel

Pablo PicassoMother with Dead Child II, Postscript to Guernica (Femme avec enfant mort II, Post-scriptum a Guernica)Grands-Augustins, Paris, September 26, 1937Oil on canvas, 130 x 195 cmMuseo Nacional Centro de Arte Reina Sofía, Madrid, Bequest of the artist© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: © Archivo fotográfico Museo Nacional Centro de Arte Reina Sofía, Madrid

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Pablo Picasso Reclining Woman Reading (Femme couchée lisant)La Californie, December 5, 1960Oil on canvas, 130.2 x 196.2 cm Modern Art Museum of Fort Worth, Museum purchase, The Benjamin J. Tillar Memorial Trust© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Tom Jenkins

Pablo PicassoThe Maids of Honor (Las Meninas, after Velázquez) (Les Ménines, vue d’ensemble, d’après Velázquez)La Californie, August 17, 1957Oil on canvas, 194 x 260 cmMuseu Picasso, Barcelona, Gift of the artist, 1968© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: Gassull Fotografia

Pablo PicassoThe Kitchen (La cuisine)Grands-Augustins, Paris, November 9, 1948Oil on canvas, 175.3 x 250 cmThe Museum of Modern Art, New York, Acquired through the Nelson A. Rockefeller Bequest, 1980© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: The Museum of Modern Art/Licensed by SCALA/Art Resource, NY

Pablo PicassoThe Charnel House (Le charnier)Grands-Augustins, Paris, 1944–45Oil and charcoal on canvas, 199.8 x 250.1 cmThe Museum of Modern Art, New York, Mrs. Sam A. Lewisohn Bequest (by exchange), and Mrs. Marya Bernard Fund in memory of her husband Dr. Bernard Bernard, and anonymous funds, 1971© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: The Museum of Modern Art/Licensed by SCALA/Art Resource, NY

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Pablo Picasso The Kiss (Le baiser)Mas Notre-Dame-de-Vie, Mougins, 1969Oil on canvas, 97.2 x 130.2 cmPrivate Collection© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New YorkPhoto: David Heald

Pablo Picasso in front of The Kitchen (La cuisine, 1948) in his rue des Grands-Augustins studio. Photo: Herbert List/Magnum Photos

Installation view of Picasso Black and White, Solomon R. Guggenheim Museum, New York, Oct. 5, 2012–Jan. 23, 2013.© 2012 Solomon R. Guggenheim Foundation. Photo by David Heald.

Installation view of Picasso Black and White, Solomon R. Guggenheim Museum, New York, Oct. 5, 2012–Jan. 23, 2013.© 2012 Solomon R. Guggenheim Foundation. Photo by David Heald.

Carmen Giménez Stephen and Nan Swid Curator of Twentieth-Century Art

Carmen Giménez joined the Solomon R. Guggenheim Museum in 1989 as Curator of Twentieth-Century Art. In 2009, she was named Stephen and Nan Swid Curator of Twentieth-Century Art, a position formerly held by the late Robert Rosenblum from 1996 to 2006. Ms. Giménez is internationally recognized for organizing exhibitions of the highest quality. Her shows for the Guggenheim museums include: Picasso and the Age of Iron (New York, 1993); A Century of Sculpture: The Nasher Collection (New York, 1997); Richard Serra Escultura 1985–1999 (Bilbao, 1999); The Global Guggenheim: Selections from the Extended Collection (New York, 2001); Calder: Gravity and Grace (Bilbao, 2003); Constantin Brancusi: The Essence of Things (New York, 2004); David Smith: A Centennial (New York, 2006); Spanish Painting from El Greco to Picasso: Time, Truth, and History (New York, 2006–07); Cy Twombly (Bilbao, 2008–09); and the forthcoming Picasso Black and White (New York, 2012–13). In 1983, Ms. Giménez was appointed by Javier Solana, Minister of Culture, to lead the national exhibition program for Spain, and was charged with the double mission of promoting Spanish art abroad and bringing modern and contemporary international art to Spain. She was responsible for developing an exhibition program for the museums of Madrid, including the Museo Español de arte contemporáneo, Biblioteca nacional/Sala Ruiz-Picasso, Palacio de Velázquez, Palacio de Cristal, Museo nacional del Prado, and Museo arqueológico nacional. From 1984 to 1989, Ms. Giménez served as Director of the National Center for Exhibitions for the Spanish Ministry of Culture, where she established the center’s exhibition policy and personally directed an impressive exhibition program. During this period, she proposed to create the Museo nacional centro de arte Reina Sofía as an exhibition center for international artists and important collections of modern and contemporary art. Ms. Giménez helped to select the eighteenth-century Hospital de San Carlos in Madrid to be converted for the new institution, replacing the Museo Español de arte contemporáneo that had been established by Francisco Franco in 1974. In 1986, she curated the inaugural exhibition References and Identity: An Artistic Meeting in Time for the Centro de arte Reina Sofía with the participation of Georg Baselitz, Antonio Saura, Antoni Tàpies, and Cy Twombly, as well as Eduardo Chillida and Richard Serra. The institution was formally established as the Museo nacional centro de arte Reina Sofia in 1988, and Ms. Giménez directed the exhibition programming for the institution until 1989. As part of the Spanish Program for Cultural Activities Abroad (P.E.A.C.E.), a program Ms. Giménez helped to conceive and organize in cooperation with the Ministry of Foreign Affairs, she organized exhibitions such as Spanish Art from the Sixteenth to Seventeenth Centuries (Seibu Museum of Art,

Tokyo, 1985) and Spanish Masterpieces of the Twentieth Century (Seibu Museum of Art, Tokyo, 1989). Moreover, in 1987, Ms. Giménez developed a major Spanish art exhibition series entitled Cinq siècles d’art espagnol, which included Du Greco à Picasso (From El Greco to Picasso, presented at the Musée du Petit Palais in Paris) and Le Siècle de Picasso (The Century of Picasso, exhibited at the Musée d’art moderne de la ville de Paris, and at the Museo nacional centro de arte Reina Sofia, Madrid, as El siglo de Picasso). In the early 1990s, having joined the Solomon R. Guggenheim Museum, Ms. Giménez prepared the fundamental groundwork for a satellite Guggenheim in Spain, setting up the negotiations with the Basque government and paving the way for the future Guggenheim Museum Bilbao. In 1991, she curated the exhibition Obras maestras de la colección Guggenheim (Masterpieces from the Guggenheim Collection), which traveled to the Museo nacional de arte Reina Sofia in Madrid and to the Sezon Museum of Art in Tokyo. In 1997, Ms. Giménez was appointed as director for the creation of the Museo Picasso Málaga and its collection, and oversaw the architectural renovation of the Palacio de Buenavista and La Judería (Jewish quarter) in Málaga, Spain. After the Museo Picasso Málaga opened in October 2003, Ms. Giménez organized the inaugural exhibition El Picasso de los Picasso (Picasso’s Picassos) and served as the museum’s director until June 2004. In 1985, Ms. Giménez organized Escultura Española 1900–1936 (Spanish Sculpture 1900–1936) for the Palacio Velázquez and the Palacio de Cristal in Madrid. This exhibition featured Picasso’s bronze iteration of Woman with Vase (1933), which Ms. Giménez assisted in returning to Spain following the artist’s original intent to donate the work to the people of the Spanish Republic. Among the many exhibitions organized by Ms. Giménez and focused on Spanish art are: Picasso clásico (Classical Picasso), exhibited at the Palacio Episcopal, Málaga, Spain, in 1992; Picasso: Primera mirada, colección Christine Ruiz-Picasso (Picasso: First Sight, Christine Ruiz-Picasso Collection), presented at the Palacio Episcopal, Málaga, and the Pabellón Mudéjar, Seville, from 1994 to 1995, and at the Carré d´art, Musée d´art contemporain, Nimes, France, in 1995; Obras maestras del arte español del museo de bellas artes de Budapest (Masterpieces of Spanish Art from the Museum of Fine Arts, Budapest), exhibited at the Banco Bilbao Vizcaya, Madrid, and the Museo de bellas artes de Bilbao, in 1996; Picasso Toros (Picasso’s Bulls), displayed at the Museo de bellas artes de Santiago de Chile and the Museo de la Concepción, Chile, from 1999 to 2000; and Picasso: Tradición y vanguardia (Picasso: Tradition and the Avant-Garde), exhibited at the Museo nacional del Prado and the Museo nacional centro de arte Reina Sofia, both located in Madrid, in 2006. Throughout her career Ms. Giménez has received numerous awards and appointments, including the Gold Medal of Fine Arts (Medalla de oro al mérito de las bellas artes) awarded by the Spanish Government in September 2003 and bestowed by His Majesty, King Juan Carlos of Spain in 2004. In 2009, she was appointed to the Board of the Museo nacional del Prado. This year, Ms. Giménez was named Academician of Honor by Spain’s Royal Academy of Fine Arts (Real Academia de bellas artes de San Fernando), and is the first woman to hold this title.

Bank of America is pleased to sponsor Picasso Black and White in New York and Houston.

We look forward to working once again with the Solomon R. Guggenheim Museum and the

Museum of Fine Arts, Houston and to be a part of the first major show to focus on the artist’s

lifelong exploration of a black-and-white palette.

Picasso’s quintessential image Woman Ironing (La repasseuse), Paris, spring 1904, featured

in the exhibition, was a recipient of a 2012 Bank of America Art Conservation Project grant.

The Art Conservation Project is a unique program that provides grants to museums and

nonprofit institutions throughout the world to conserve significant works of art and cultural

treasures.

Bank of America is one of the leading corporate supporters of the arts, helping to strengthen

thousands of art and cultural organizations around the world. Our commitment to the arts is

based on the belief that a thriving arts and culture sector benefits societies and economies.

Beyond intrinsic beauty, arts and culture can spur urban renewal, attract new businesses, draw

tourism and spark innovation.

We hope you are inspired by Picasso Black and White to consider how art can nurture

meaningful human connections and that you are able to share this special experience with

family and friends.

Brian T. Moynihan

Chief Executive Officer

Bank of America