Picasso Museum Barcelona

The Museu Picasso (Catalan elocution: [muˈzɛw piˈkasu], "Picasso Museum"), situated in Barcelona, Catalonia, Spain, houses a standout amongst the broadest accumulations of works of art by the twentieth-century Spanish craftsman Pablo Picasso. With 4,251 works displayed by the painter, the exhibition hall has a standout amongst the most total changeless accumulations of works. The historical center is housed in five abutting medieval royal residences in Barcelona's La Ribera and is situated on Montcada Street in the (Bank District) of Barcelona. It opened to the general population on 9 March 1963, turning into the main exhibition hall devoted to Picasso's work and the just a single made amid the craftsman's life. It has since been proclaimed a historical center of national enthusiasm by the Government of Catalonia.

Features of the accumulation incorporate two of his first significant works, The First Communion (1896), and Science and Charity (1897). Specifically, the Museu Picasso uncovers Picasso's association with the city of Barcelona, a relationship that was formed in his childhood and puberty and proceeded until his passing.


The first thought for the historical center originated from Picasso's long-lasting companion and secretary, Jaume Sabartés, whom Picasso had given numerous artistic creations, illustrations, and prints since meeting in 1899. Initially, Sabartés expected to establish the exhibition hall in Málaga, Picasso's origin. It was Picasso himself who proposed that Barcelona would be more suitable, given his long standing associations with the city.

On 27 July 1960, Sabartés consented to an arrangement with the city of Barcelona to establish the gallery. The exhibition hall opened in 1963, with the gathering built up through Sabartés' gift of 574 works from his own accumulation. Different things included works that Picasso had given to the city of Barcelona, for example, Harlequin, works beforehand in the ownership of the city's historical center of present-day craftsmanship, and different blessings from Picasso's companions and collectors. The exhibition hall opened under the name of the Sabartés Collection, on account of Picasso's solid restriction to Franco's administration. At last, Barcelona chairman Josep Porcioles conflicted with the desires of the focal government keeping in mind the end goal to open the museum. When it opened, the historical center was situated in Palau Aguilar on Montcada Street. In this time, the accumulation comprised fundamentally of the individual gathering Sabartés, a few lithographs, and publications. Different gifts amid the historical center's first year incorporated a book of etchings made by Picasso of Ovid's Metamorphoses, given by Salvador Dalí, and in addition, a collection given by Gala Dalí, titled No, 1913. In consequent years, the accumulation was extended with gifts, including 7-illustrations dated in the vicinity of 1899 and 1904 given by Junyer Sebastian Vidal.


After Sabartés passing in 1968, in 1970 Picasso made his last individual gift to the gallery. The gift was comprised of 920 differed works, including things from his initial work that his family had been keeping for him as far back as the time he initially settled in France. These included textbooks, scholarly pieces and works of art from Picasso's Blue Period. Sabartés himself requested various works upon his passing, including a progression of 58 compositions on Las Meninas. In December 1970, the historical center experienced its first development, including the Palau del Baró de Castellet, which is appended to the first exhibition hall building, Palau Aguilar.

As years passed, the gallery developed in significance as more generous gifts were made. Amid the mid-1980s the gathering was extended with a few gifts from people and different craftsmanship exhibitions, and through acquisitions. In 1982, Picasso's dowager Jacqueline Roque gave 41 pieces to the historical center. (In 1983), the Louise Leiris Gallery made a gift of 117 etchings. Some eminent gifts incorporate those from Carles Domingo and the Editorial Gustavo Gili, among others. In 1985, the historical center's physical space extended again with the expansion of Palau Mecca.

Amid the 1990s gifts included (ladies bust or Man sitting). The gallery additionally procured works, for example, Portrait of Jacqueline with tape, among others. In the late 1990s the historical center extended once more with the securing of Casa Mauri and Palau Windows, both on a similar road and adjoining the exhibition hall. Opened in 1999, this new expansion added 3,400 square meters to the historical center, filling in as a space for transitory displays, a theater, and extra administrations. The augmentation was opened with the brief display Picasso: Interior and Exterior Landscape, with in excess of 200 works by the craftsman made in the vicinity of 1917 and 1970.

21st century

In 2003, the gallery's inside was rebuilt and the works of art adjusted. After two years, The Government of Catalonia pronounced the establishment a historical center of national interest.

In 2006, Maite Ocaña, the gallery's executive since 1983, surrendered with a specific end goal to coordinate the National Art Museum of Catalonia. Pepe Serra was named the chief of the Picasso around the same time. In 2008, the Museu Picasso improved the lasting gathering and opened new rooms devoted to etching, including one committed to Sabartés. Serra has since set up a system of associations related with Picasso, including the City of Gósol, the Center Picasso of Horta de Sant Joan and Palau Foundation in Caldes d'Estrac, with the focal point of advancing the situation of the craftsman by the Catalan domain. In 2009, the historical center was recorded as one of the 40 most went by workmanship galleries on the planet by The Art Newspaper.

In 2010 the historical center started a venture to enhance its dynamic nearness in interpersonal organizations, for example, Twitter, Flickr, and Facebook. The historical center's endeavors brought about the Museums and the Web 2010 Best of the Web grant for social media. The gallery's online life ventures advance participatory discourse around the establishment's exploration and information.

All the more as of late, the exhibition hall has constructed another working in Sabartés square, behind Montcada Street. This development lightened the congestion at the passage of the museum. The building was planned by the engineer Jordi Garcés, who had finished the past extension of the museum.


The Museu Picasso possesses five huge houses or royal residences of the Carrer de Montcada Barcelona, dating from the thirteenth century and fourteenth century, involving an aggregate region of 10,628 sqm. The structures take after the style of Gothic common Catalan. Every one of the 5 structures is constructed following a comparative example, around a patio outfitted with an outside staircase that enables access to the fundamental floors. The structures that house the accumulation of Picasso's works likewise has their own history.

Palau Aguilar

The Palau Aguilar (Montcada, 15) was the principal building possessed by the historical center. The building was most likely based on the home of James Ses sources, a critical character in the life of Barcelona. The building dates from the thirteenth century however experienced noteworthy changes between the fifteenth and eighteenth centuries. Between the thirteenth and fourteenth hundreds of years, the building had a place with different nobles of the Court of Aragon. It was obtained in 1386 by the average family Corominas-Desplà, who at that point sold it fourteen years after the fact to Berenguer Aguilar, from which the royal residence is named. Later proprietors incorporated a few individuals from the Catalan bourgeoisie preceding the building's buy by the City Council on 3 November 1953.

Amid a rebuilding made in 1960, the remaining parts of a thirteenth-century painting were found while expelling mortar from one of the rooms. Today this work is shown in the National Art Museum of Catalonia. A substantial fresco speaking to the success of Majorca in 1229, the work is comprised of cauldrons and roses, which recommend that the royal residence had a place with the ancestry Caldes and Desvalls. It delineates the focal patio of the working amid the fifteenth century, with an open staircase and a pointed Gotchic arch.

Palau Baró de Castellet

The Palau Baró de Castellet (Montcada, 17) is a royal residence from the medieval period. Worked amid the thirteenth century, it was claimed by the Gerona family amid the fifteenth century. From that point forward it has changed hands between the middle class and distinguished groups of Barcelona, having been renovated amid the eighteenth century. In 1797, the then proprietor (Mariano Alegre Aparici Amat) got the honorable title of Baron Castle on account of King Charles IV, provoking the royal residence to get its name. Upon the demise of the Baron, the building was handed down to the Hospital of the Holy Cross, who leased it to various inhabitants until the point that they sold it to the Rivers family. The City Council at that point acquired the working in the 1950s. The castle was worked around a focal yard and incorporates on its veneer a help from the sixteenth century that portrays religious subjects. The inside's principle floor is in the neo-traditional style of the mid-eighteenth century, including components of marble and polychrome reliefs.

Palau Meca

The Palau Meca (Montcada, 19) was worked between the thirteenth and fourteenth hundreds of years and furthermore experienced rebuilding amid the eighteenth century. Like alternate royal residences, it contains a focal patio. Features incorporate the medieval polychrome coffered roofs of the fundamental floor and in addition remarkable roofs from the nineteenth century. In 1349, the property was possessed by James Knight, at that point Minister of the City Council. Under the responsibility for grandson, Ramon Desplà Knight, it turned into the biggest castle on the square. The building later turned into the property of the group of Cassador (or Hunter), Marquis of Ciutadilla. The primary proprietor, Joseph Mecca Hunter gave the royal residence its present name. The following family to possess it, the Milans, reestablished the working after it was severely harmed amid the War of Spanish Succession. In 1901, the building was given to the Brothers of Christian Doctrine and (was introduced Montepío of Santa Madrona.) Over time the Montepío incorporated with a bank, who gave the working to the City Council on 5 December 1977. The Palace was revived as a major aspect of the exhibition hall on 11 January 1982.

Casa Mauri

Casa Mauri (Montcada, 21) incorporates a few structures that date from Roman circumstances when space was possessed by suburbia of Barcino. Of note is the interesting wood veneer, one of only a handful couple of cases in Barcelona of the locking framework average of the eighteenth century. In the vicinity of 1378 and 1516 the building was possessed by the Rocha family and in 1716 it was claimed by F. Casamada. Amid the nineteenth century, a few redesigns were made. Under the proprietor Josep Vidal Torrents, the building was made to have modern uses until the point when it was purchased by Mauri pastry kitchens in 1943, the organization that gave the building its name. In 1999 the building was procured by Museu Picasso.

Palau Finestres

The Palau Finestres (Montcada, 23) was based on the establishments of a building dating to the thirteenth century and involves a previous Roman necropolis. In the vicinity of 1363 and 1516, the zone had a place with the Marimon family. In 1872, the proprietor of Casa Mauri, Jose Vidal Torres, purchased the working keeping in mind the end goal to attach it to his home. The City obtained the working in 1970. There are arcades on the ground floor, included amid the changes of the fifteenth and seventeenth hundreds of years. On the primary floor, a coffered roof from the finish of the thirteenth century has been reestablished. The building is as of now utilized as show space.

Learning and Research Center

The Knowledge and Research Center was opened on 17 February, another building situated in Plaza Sabartés that was planned by draftsman Jordi Garcés. The site expects to wind up a universal historic point in the investigation of Picasso and his masterful and social setting. Executive Pepe Sierra clarified that space would be utilized for exchange, discourse, and verbal confrontation, instead of as a position of consumption. (The association in charge of this is Silvia Domenech, dispatched in the vicinity of 1997 and 2007 of the Photographic Archive of Barcelona.)

Jordi Garcés, who as of now played out the past extension of the museum, composed the 1500 square meter working with a straightforward glass veneer secured by a cantilever. The building houses an instructive fixate on the ground floor, with 4 multi-reason spaces went for giving instructive support of the museum. The main floor is given to the library, documentation focus, and files of the exhibition hall. The storm cellar is committed to guest administrations. The development started on 10 July 2009 and finished on 16 February 2011, costing 6.7 million.

The lasting accumulation

The lasting accumulation is sorted out into three segments: painting and drawing, etching, and earthenware production. These cover mainly the early long stretches of Picasso's imaginative life, for example, his Blue Period from 1901 to 1904, however, Picasso, his family, and his companions would endowment or advance other later pieces also. There are presently in excess of 3,500 works making up the changeless gathering of the museum.

The accumulation is sorted out into territories that incorporate the early years (Málaga, Corunna and Barcelona, 1890– 97), the preparation time frame (Barcelona, Horta de San Juan and Madrid, 1897– 1901), the Blue Period (1901– 04), works in Barcelona from 1917, and the whole Las Meninas (1957) arrangement. A large portion of the artistic creations in plain view at the exhibition hall are from the period in the vicinity of 1890 and 1917, a critical gathering as to that part of Picasso's life. The exhibition hall has not very many artistic creations after 1917, except for the Las Meninas, painted in 1957. The gathering of lithographs contains the years 1962 and 1982. Picasso himself gave the exhibition hall a duplicate of every one of his works delivered after the demise of Sabartés in 1968. The gathering likewise incorporates delineations made by the craftsman for different books, and also earthenware production talented to the historical center by Picasso's dowager, Jacqueline.

In the vicinity of 2009 and 2010, the exhibition hall started making data on the perpetual gathering open on their site. As of October 2010, more than 65% of the gallery's accumulation was accessible to see on the web.


The Picasso Museum has done many presentations since it opened. Frequently, these exposures are identified with the figure of the painter or points identified with their condition, endeavoring to research and survey the work and investigations of the painter from Málaga. We have likewise held presentations on the connection amongst Picasso and different craftsmen as Picasso versus Rusiñol held in 2010. Now and again additionally composed a voyaging presentation and Bullfighting. Works of art, illustrations, and prints in the accumulation of the Museu Picasso which could be seen at the Casa Lis in Salamanca in 2010. Likewise made little presentation concentrated on one subject, called shows, for example, breaking down the artistic creation Science and Charity, the consequences of studies indicating radiographic and reflectologia or another that dissects an announcement that was made about Picasso in Barcelona 1936, Room Esteva. Picasso Exhibition, 1936.

The Museu Picasso often has exceptional displays introducing works of art by Picasso and different craftsmen. Every once in a while, the exhibition hall additionally sorts out classes and addresses on subjects identified with Picasso or on museological issues of intrigue given by pros from all through the world.


The historical center has a free open library of more than 6,000 references, situated on the third floor of the Palau Aguilar. It is a space for counsel with a narrative on the life and work of the craftsman and his masterful setting, covering basically every pictorial developments of the twentieth century. To get to it expected to make an arrangement ahead of time. The library can be found from indexes of shows of Picasso to book lover versions. There are likewise accumulations of a portion of the diaries of the cutting edge Catalan of the mid-twentieth century, where Picasso worked together and showed up regularly. Additionally accessible with confined access, a gathering of craftsman's books with delineations by Picasso himself or by other eminent specialists.

Instructive exercises

One of alternate parts of the Picasso Museum is to feature the number of administrations and preparing proposition and stimulation for families and schools. The historical center has a particular office and an area on the site where you can download particular assets to do instructive exercises amid the visit, went for both elementary teachers as optional or secondary school, arranges guided visits for the two grown-ups, for example, dynamic visits adjusted to the distinctive instructive levels, both in the changeless accumulation and transitory presentations. The historical center likewise arranges gatherings and classes and exercises in a joint effort with different organizations, for example, the UOC, the Grec Festival, the San Juan de Dios Hospital, the Pompeu Fabra University, and the School Tool, among others.

Preventive preservation and rebuilding

The exhibition hall has its own group of preventive protection and rebuilding, to guarantee that crafted by our own gathering are in the most ideal conditions for who and what is to come. From this office contemplated and reported both the work and materials that Picasso utilized as a part of the request to enhance comprehension of his work. In this office additionally sets up the most proper measures of ecological assurance and setting up the most suitable security conventions.


  • Joan Ainaud Lasarte (1963– 1966)
  • Rosa Maria Subirana (1966– 1983)
  • Maria Teresa Ocaña (1983– 2007)
  • Pepe Serra (2007– 2011)
  • Bernardo Laniano Romero (2012-2016)
  • Emmanuel Guigon