Picasso and Françoise Gilot

The years that Picasso spent with Gilot represented an era of great change: Europe was emerging from World War II with a pronounced political dedication to peace, and Picasso was experiencing the joy of a new partner and family, with the births of Claude and Paloma. He also moved from Paris to his first permanent residence in the south of France at Vallauris. It was a period of transformation in his paintings that coincided with great inventiveness in a range of new mediums including lithography, sculpture, and ceramics. He announced Gilot’s presence as his muse in nuanced, romantic paintings such as Femme assise (1946), Femme au collier jaune (1946), and Femme dessinant (Françoise) (1951). The exhibition includes four variations of the iconic La femme-fleur. He crafted radical sculptural assemblages, such as Femme portant un enfant (1953) and Anatomie feminine (1946), from industrial debris collected while walking the hills of Vallauris. He immortalized Gilot’s striking beauty and vitality in pioneering lithographs created at the Atelier Mourlot; and at the Ramié pottery studio, he revolutionized the production of ceramics, creating playful and exuberant editions available to a new and wider audience.

Although she was only twenty-one years old at the time she met Picasso, Gilot was already an accomplished artist. Later she would align herself with Réalités Nouvelles, a group of radical abstractionists headed by Nicholas de Stael and Sonia Delaunay. Nor was Gilot a great admirer of Picasso; she much preferred Braque, whose work left a visible impression on her own style. Picasso and Françoise Gilot includes key paintings by Gilot—self-portraits such as Portrait en noir (moi-même au travail) (1943) and Le peintre (portrait de moi-même au travail) (1946); still lifes; and depictions of Picasso and their children that chart her own stylistic transformations over the decade they spent together. Several of the paintings exhibited were included in Gilot’s 1943 Paris exhibition Picasso visited the week after they met. It is a great honor for Gagosian to collaborate on this historic and unprecedented exhibition with Françoise Gilot, who to this day remains an active artist.

The Madison Avenue galleries have been transformed by architect Christian Hubert, and the exhibition is accompanied by a fully illustrated catalogue that includes a dialogue between Richardson and Gilot, as well as essays by Charles Stuckey and Michael Cary.