In 1906, Picasso, identifying modernity and otherness, performatively understood the significance of the body and turned to the slides of gender, making the representation of the Arcadian adolescents the symbol of a new start for life and art. Thus, he transformed the academic concept of “nude”, replacing it with the notion of the “body in representation”. Without dispensing with the hypnotism of the scopic drive, Picasso gave the body significance and, therefore, made it a place of linguistic and cultural experimentation. The vernacular was now considered a mythology of origin. At the same time, Picasso in 1906 was redefining the framework between figure and ground, between plastic space and body, situating the underpinnings of a new visual system that sensed an understanding of the painting as object.
In his search for the primordial, and confronting European colonialism, Picasso propounded a synergy with primitive cultures, which occurred before it was customarily dated and with a powerful sense of the hybridisation of cultural references extending beyond the habitual concept of “primitivism”. Moreover, Picassian interculturality was observant of photography, ethnographic treatises, the press and popular illustrated books. His mode of understanding visual memory infringed the idea of anachronism and kept the legacy of the museum as an underlying paradigm, and as he watched his contemporaries and immediate predecessors he also interacted with them. He cited himself, maintaining the traces of his work and fostering the nachleben — the persistence or survival of images — of his own visual solutions. His relationship with Gertrude Stein was also pivotal to the foundation of modern art and, as a consequence, 1906 was fundamentally a “huge turning point”.
Eugenio Carmona is a professor of Art History at the University of Málaga and the curator of the exhibition Picasso 1906. The Turning Point. Some of the publications on which he has collaborated include El cubismo y sus entornos en las Colecciones de Telefónica (Fundación Telefónica, 2005-2008); Picasso, Miró, Dalí, Giovanni e arrabbiati: la nascita della modernità (Skira, 2011); Picasso and Spanish Modernity (La Mandragora and Palazzo Strozzi, 2014); and Modern Spanish Art from the Asociación de Arte Contemporáneo (Meadows Museum Dallas and Colección Arte Contemporáneo, 2016).
Cécile Debray is the director of Musée Picasso in Paris. Notable among her publications are the exhibition catalogue from the Grand Palais show Cézanne, Matisse, Picasso, l’aventure des Stein (Éditions RMN, 2011), as well as Le Fauvisme (Éditions Citadelles and Mazenod, 2014) and Les Nymphéas de Claude Monet (Éditions Hazan, 2020).
Estrella de Diego is a professor at the Complutense University of Madrid and a full member of the San Fernando Royal Academy of Fine Arts. Her publications most notably include Artes visuales en Occidente desde la segunda mitad del siglo XX (Cátedra, 2015), El andrógino sexuado: eternos ideales, nuevas estrategias de género (Antonio Machado, 2018) and Los mil rostros del minotauro: Picasso, Fifty Years Later ( Arquitectura Viva No. 249, 2022).
Tamar Garb is a professor in the Art History Department at University College London. Her publications most notably include Bodies of Modernity: Figure and Flesh in Fin de Siècle France (Thames Hudson, 1998) and The Body in Time: Figures of Femininity in Late Nineteenth-Century France (University of Washington Press, 2008).
Jèssica Jaques Pi is a professor of Aesthetics and Art Theory at the Universitat Autònoma de Barcelona. She also co-directs the Picasso PhD (Museo Picasso in Barcelona, in collaboration with the Universitat Autònoma de Barcelona and the Université de Picardie Jules-Verne, Amiens). She is the author of Picasso en Gósol, 1906: un verano para la modernidad (Antonio Machado, 2007), and head researcher on the project Los escritos de Picasso: textos teatrales (2016-2018) from Spain’s Ministry of Science and Innovation.
Raquel Jimeno is the coordinator of the Muso Reina Sofía’s Cultural and Audiovisual Activities.
Patricia Leighten is a professor emerita in the Art, Art History and Visual Studies Department at Duke University in the USA. Together with art historian Mark Antliff, she has published, among other works, Cubism and Culture (Thames Hudson, 2001) and A Cubism Reader: Documents and Criticism, 1906-1914 (University of Chicago Press, 2008). Her individual work most notably includes the publication The Liberation of Painting: Modernism and Anarchism in Avant-Guerre Paris (University of Chicago Press, 2013).
Robert Lubar is a professor of Fine Arts at New York University and a board member of the Fundació Joan Miró in Barcelona, an artist on which he is a specialist and has curated exhibitions such as Joan Miró en Oporto (Museo Serralves, 2016). His publications most notably include Unmasking Pablo’s Gertrude: Queer Desire and the Subject of Portraiture (The Art Bulletin 79, No. 1, 1997), Divided Landscapes: Painting and Politics in Spain (1898-1939) (Yale University Press, 2002) and the catalogue of Espacio Miró from Fundación Mapfre (2016).
Raúl Martínez is head of painting and drawing until 1939 in the Museo Reina Sofía’s Collections Area.
Patricia Mayayo is a full professor in the Department of Art History and Theory at the Autonomous University of Madrid. Her publications most notably include Historias de mujeres, historias del Arte (Cátedra, 2003), Cuerpos sexuados, cuerpos de (re)producción (Editorial UOC, 2011) and Arte en España (1939-2015), ideas, prácticas, políticas (Cátedra, 2015), the last of which was published with Jorge Luis Marzo.