Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Restless energy and inventiveness
CHRISTINE LINDEY is taken by Pablo Picasso’s output of 1932 – a curatorial choice that allows a full appreciation of his genius
Nude Woman in a Red Armchair (left)
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
Picasso 1932 — Love, Fame, Tragedy
Tate Modern
London SW1
Despite its rather misleading title, erotic love is the overarching subject of Tate Modern’s Picasso 1932, Love, Fame, Tragedy. Indeed, when first shown in Paris this extensive exhibition was more explicitly titled Picasso 1932 — Année erotique (erotic year).
This emphasis is clear from the selection of works, their captions and the wall texts, which are reproduced in the accompanying free booklet, and in some large statements by Picasso painted on the walls like “Essentially there is only love. Whatever that may be.”
Picasso’s muse was his young and illicit lover Marie-Therese Walter, whose long-limbed body and Grecian profile had arrested his gaze in a Paris boulevard in 1927. His cliched, but prophetic, chat-up line was “I feel we could do great things together.” And they did. She was not yet 18, he was 45.
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