The Tamesis
Nahmad Contemporary will present an exhibition titled “Picasso | Painter and Model, Reflections on Naomi Campbell” at their exhibition space in Gstaad, Switzerland, next month.
The exhibition, which will run from February 14 to March 15, focuses on Pablo Picasso’s late series “Le Peintre et son modèle” (The Painter and His Model) and will feature 14 works created between 1963 and 1965. Several of the works on display have previously been shown in Picasso exhibitions at major institutions such as the Center Pompidou, the Fondation Beyeler, the Reina Sofia Museum and Notre Dame de Paris. Guggenheim Museum.
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The works were created during the early years of his marriage to his second wife, Jacqueline Roque, and began in 1973, ten years before his death. Roque was most likely a stand-in for the nude model, who was often half of the composition of each painting.
“In these late works, Picasso turned the act of painting into performance,” dealer Joe Nahmad said in a statement. “Painting with son model The series confronts desire, power and death with contemporary urgency. Naomi Campbell’s perspective offers a unique perspective on this dynamic, expanding the conversation around the gaze and its meaning in a way that few voices can. “
Supermodel Naomi Campbell will reflect on the exhibition, offering her perspective on the artist’s relationship with the muse, as well as “meditations on aging, desire and the fragile persistence of artistic authority,” according to a press release.
“Having lived in front of the camera most of my life has given me a unique perspective on the relationship between artist and model,” Campbell said in a statement. “It is complex, layered and powerful. These paintings feel deeply intimate. They express the tension between visibility and privacy, possession and distance. They reveal how the gaze can simultaneously elevate and limit, and how creation can be driven by what is just out of reach.”
She continued, “Looking at it through this lens, Painting with son model The series reminds us that the greatest power in the act of looking may not belong to the person staring, but to those who undoubtedly remain out of reach. “
