Reyes Jiménez

Brushstrokes and writings in drawings made during the period of training / a graphological study

Saturday April 29 – Session 09 @ Hotel Colón


The study carried out to identify the drawing discovered on the back of the pastel portrait The Artist’s Mother (MPB 110016) during its 2013 restoration, was initially based on the formal similarity to another work in the collection, Bust of a 19th Century Gentleman (MPB110700R), which had presumably been made during the last years the young Picasso lived in La Coruña (1894-95).

In addition to the similarities in stroke and technique, the only reference on the drawing of the gentleman is some writing in ink on the top-left corner which has not been studied to date. Its possible identity marked the beginning of a study which has recently been published in Quaderns del museu.

Over the past three years, we have expanded the scope of the work, leaving behind the merely technical and stylistic setting of these two works and establishing new links with other works in the collection. To this end, a third drawing from the Museum collection has been added to the project. Pigeons and Other Drawings (MPB 110864R), also made in La Coruña in 1894, has several inscriptions and short, hand-written texts.

We have employed the methods of graphonomics, the calligraphic expert procedure most commonly used in Western countries today, to analyse graphic aspects and subaspects of the writings on the drawings.

Writing is a complex action in which authors project their personality, which is as unique and unrepeatable as the trace of the pencil or the brushstroke.

This study is a good example of the necessary collaboration of different disciplines in the documentation of art collections. Writings which beyond any doubt are those of Isidoro Brocos, extracted from notes in his sketchbooks, and several handwritten texts by Picasso in 1894 are the truthful reference forming the base for the comparison of several scripts that are part of the composition of both drawings.

The application of this type of methodology to the examination of the texts in the drawings has been a complementary tool to determine the nature of the various calligraphies and document, with innovative aspects, the training programme of the young Picasso and the influence some of his teachers have had.


Reyes Jiménez

Head of Restoration and Conservation, Museu Picasso, Barcelona

REYES JIMENEZ, has a degree in Fine Arts (UCM). She has developed her career in the field of heritage and museums in the specialities of restoration, technical research and preventive conservation.  In 2002, she joined the Museu Picasso of Barcelona as head of the technical management of its collections.  She leads research about the execution process of the pictorial collection.  In 2014 she participated in the study Early Stages of Picasso through material characterization of different portraits and currently in the project ProMeSA that analyzes the materials in work of the young Picasso.  She is author of various publications of museology, conservation-restoration and Picasso’s pictorial techniques from the early years and the Blue period.   



Organized by:

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Museu Picasso Barcelona
Montcada 15. 08003 Barcelona

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Fundació Palau. Centre d’Art
Carrer la Riera 54. 08393
Caldes d’Estrac Barcelona

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The Museu Picasso Barcelona would like to recognise the extraordinary commitment and support of:

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With the collaboration of:

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