The Picasso Museum in Antibes is housed in the Château Grimaldi. Picasso only spent three months here from September to November 1946. Yet during this time he produced a wonderful array of art and developed his talents even further. The legacy remains as is evident from the line up as I wait to enter the museum. In the meantime, the history of the iconic Château dates back far before his time.
Château Grimaldi
Château Grimaldi, a historic fortress, was built on the ruins of an ancient Roman castrum. In the Middle Ages it was owned by the bishops of Antibes and used as an episcopal palace.
Then, in 1385 it was acquired by the Grimaldis, a prominent and wealthy family in the region. The Grimaldis heralded from Genoa and the family were influential merchants and politicians. During the 13th century they also ‘acquired’ the principality of Monaco through a combination of strategic marriages and political maneuvers. They have ruled Monaco ever since and the Château served its purpose during their rise and rise in the region. During the time, of the Grimaldis, the Château was transformed from a fortress into a fortified residence. It served both as a strategic military stronghold and as a family home.
The early years of military stronghold is thanks to its position strategic position overlooking the Mediterranean and the surrounding area. By the 17th century, the Grimaldis moved their primary residence to Monaco and the property was acquired by the King of France, Heni IV, in 1608. At this time, Antibes was still a strategic spot, near the border and on the Var River. The Château served as the residence of the King’s governor until the Revolution and housed the town’s administration before being occupied by the army until 1924.
In the 20th century, Château Grimaldi underwent a significant transformation. It was largely due to the passion of Romuald Dor de la Souchére. A local teacher of classical literature, he had a passion for archaeology and collected antique objects from his research on the remains of the Ligurian and Greco-Roman occupation of the region. He launched an application for shares and convinced the town to buy the castle, becoming the curator of the museum he established.
Picasso In Antibes
In 1946, in the aftermath of WWII, Picasso was seeking a reprieve from the hustle and bustle of Paris. Dor de la Souchére gave Picasso a studio here and he began to work in Antibes, choosing it as a picturesque location that also provided the quiet retreat that the craved.
During his stay, Picasso produced an impressive body of work. He created around 23 paintings, 44 drawings and various ceramics. The artworks from this period are particularly notable for their experimentation and diversity, reflecting Picasso’s exploration of new styles and techniques.
In 1966, the château became the Musée Picasso, repurposed and established to honor his contributions to art in Antibes and to showcase his work. The Antibes period included some of his most celebrated pieces, such as his series of paintings featuring the theme of the “Demoiselles d’Avignon,” which reflected his ongoing interest in the female form and abstraction. The ceramics and other works draw inspiration from the Mediterranean surroundings and his experiences in the region.
While the museum features a range of Picasso’s paintings, drawings, and ceramics, many of which were created during his time in Antibes, the setting of the château itself almost steals the show. Together, this small but detailed museum offers a unique insight into Picasso’s life and art as well as his process of creation. The stunningly picturesque medieval architecture with sweeting views of the coastline make this a particularly pleasurable visit. The exploration of artworks begins on the terrace…
The Terrace & Ground Floor
In addition to its artistic significance, the château’s location in Antibes adds to its charm, as the town is known for its beautiful harbor, beaches, and vibrant atmosphere. The terrace of the Picasso Museum overlooks the sea and Antibes as its backdrop.
The sculptures that guard the terrace are by Germaine Richier. Modelled in terracotta then cast in bronze from a plaster mould, the position for each of the works was chosen by the artist for her exhibition in 1959.
The works are raw and modern having been worked by Richier, as she describes, so that they are “different on all sides, so that they have a changing and living aspect”.
The remainder of the ground floor contains the Hans Hartung and Anna-Eva Bergman exhibition rooms.
Hans Hartung, known for the power of pictorial gesture, discovered his style from admiring the works of Rembrandt and the German Expressionists. He then liberated this style producing shimmering watercolours and expressing himself through “disharmony”.
On the other hand, Anna-Eva Bergman created shining compositions reminiscent of her travels including the nunataks, rocky mountain points rising from the Norwegian ice caps. The works are made up of layers of paint and thin metal leaves to impress the viewer with the aura of her vision and depth of her experience.
“The night was indescribable. Beyond anything I could have imagined. The most marvellous sunshine throughout the entire night whilst we slipped between those magical and strange creatures known as the Lofoten Islands. An incredibly sumptuous adventure. The mountains seem transparent, nothing has any thickness any more. Everything is like a vision of future possibilities that haven’t yet been fulfilled. If you want to paint it, you need to find a means of expression that suggests the atmosphere, the colours. Not naturalist by any means.” – Anna-Eva Bergman, Picasso Museum
The Second Floor
The second floor is dedicated to Picasso’s works and follows his timeline. Having removed himself from the influence and anguish of the war and fascism he had experienced in Paris, Picasso sought a more peaceful existence, moving to the South of France with his new partner, Francoise Gilot.
The Keys of Antibes
When he took the a large room in the southern wing of the Chateau Grimaldi as his studio, Picasso needed a place to work. Having seen the castle, however, he also toyed with the idea of decorating the walls and the Keys of Antibes are evidence of this.
He had decorated walls in previous studios and was already familiar with frescoes. In this instance, the wall had been prepared with oil and, quite unexpectedly, fell apart. This marred the project’s progress and it remains unfinished. Nevertheless, the simple yet charming charcoal sketches remain and link into other later works with similar faces including the famous The Joy of Life (1946, see above) and various ceramics including Head of a Faun (1947).
The Joy of Life
The Joy of Life (above, top), is, well, joyful. A literal festival from antiquity is taking place on the beach, with two musicians. One, a centaur, on the left and a faun on the right. In the middle, a nymph dances while two kid goats gallop around. Here Picasso explores the theme of Bacchus, god of wine, evident by the presence of vines in the corner. The festival is also solar with a these of happiness and new found peace as he emerges from the effects of the conflicts of WWII.
Still Life
Picasso produced may wonderful still lifes. This one, Still life with grape dish, guitar and plate with two apples (1946), highlights his increasing taste for simplification and geometrisation of forms at this time.
In the exploration of resemblance and shapes, reality is reworked to the point where it may disappear completely.
Ulysses and the Mermaids
Continuing the theme of antiquity from the Joy of Life, Picasso depicts Ulysses sailing close to the island of the mermaids. Both careful and sly, Ulysses has his sailors tie him to the mast so he can listen to the mermaids enchanting yet deadly song in safety. Here, Picasso condenses the story of one of Homer’s key characters from the Odyssey into one striking image.
Ceramic Plates
On dis(h)covering the Madoura workshop in Vallauris, Picasso became attracted to big dishes. I love this thematic collection of faces. The theme occasionally flows over into more traditional Mediterranean decorations such as aubergines, fish and tomatoes. However, the collection of faces, specifically fawns, with all their expressions and emotions on display. The museum commentary perfectly describes this as “more than just decorations on everyday objects, these images are filled with the presence and vitality that Picasso breathed into his painting”. They certainly are. Just standing here looking at them lifts my mood and makes me smile (back, in may cases).
Busts of Women
The heads that make up the Busts of Women are inspired by Marie-Therese Walter. who was involved with Picasso at the time. The artist focused on softness and sensuality, inspired by her rounded, voluptuous form. This form is reflected also in some of his drawings. My attention is drawn, fascinated, to the full cheeks and rounded, moonlike face, long neck and protruding eyes.
There is plenty more to see, inspect and ponder here. However, the Picasso Museum is soon closing and I have an aperitif to get to.
Good To Know
The Picasso Museum is located in the heart of old town Antibes. It sits perched along the rocky shore and is hard to miss from the sea side.
Open 10am – 6pm Tuesday – Sunday (closed Mondays), general entry is EUR12 although concessions are available.
In peak holiday periods it may be a good idea to book online. I waited about 45mins for entry, however, the main hold up seemed to be the security screening.
Would I Return?
Yes.
