“非常毕加索:保罗·史密斯的新视角”全球巡展首站丨中国上海丨保罗·史密斯爵士主导展陈设计

2025年12月22日，浦东美术馆隆重推出年末收官国际大展“非常毕加索：保罗·史密斯的新视角”（Picasso Through the Eyes of Paul Smith）。作为国际巡展的首站、亦是中国唯一站，展览由浦东美术馆与巴黎毕加索博物馆联合主办，以英国设计师保罗·史密斯爵士（Sir Paul Smith）的当代视角呈现其珍贵馆藏中跨越毕加索整个职业生涯的经典作品，构成国内迄今最完整、创作类型覆盖最全面的毕加索艺术巡礼，为中国观众带来一场空前绝后的艺术盛宴。

On 22 December 2025, the Museum of Art Pudong (MAP) proudly unveils the year-end international blockbuster exhibition Picasso Through the Eyes of Paul Smith. As the first stop of the global tour and the sole venue in China, the exhibition is co-organized by MAP and the Musée national Picasso-Paris. The exhibition adopts a contemporary perspective and presents seminal works spanning Pablo Picasso’s entire career. The presentation constitutes the most complete and comprehensive survey of Picasso’s art ever staged in China, offering Chinese audiences an unparalleled artistic feast.

▼展览海报（横版），Exhibition poster (horizontal)

▼展览海报（竖版），Exhibition poster (vertical)

重新定义现代艺术的“世纪巨匠”毕加索

A Century-Defining Master Who Redefined Modern Art

现代艺术的创始人之一、立体主义的先驱、超现实主义的核心人物 ，巴勃罗·毕加索（Pablo Picasso，1881–1973）早已超越艺术家这一身份，成为20世纪文化思想与视觉革命的象征。作为现代艺术史上真正意义上的“时代分水岭”，他不断吸收印象派、象征主义、新古典主义、超现实主义等多重语言，并以持续的大胆试验开辟出前所未有的艺术路径，其作品至今仍不断启发现代观众对图像、情绪与现实的重新理解。

Pablo Picasso (1881–1973) transcended the conventional role of “artist” to stand as one of the defining figures of twentieth-century cultural thought and visual revolution. Widely acknowledged as a founder of modern art, a pioneer of Cubism and a central presence within Surrealist currents, Picasso assimilated and transformed influences from Impressionism, Symbolism, Neoclassicism and Surrealism. Through relentless and bold experiment, he forged artistic paths previously unimagined. His works continue to prompt present-day viewers to reconsider image, emotion and reality.

▼生平展厅，Biography gallery

毕加索跨越半世纪的核心艺术创作全景登陆上海

A Panorama of Picasso’s Core Creative Phases Spanning Half a Century Lands in Shanghai

“非常毕加索”则以难得一见的规模囊括艺术家一生中所有标志性创作阶段：从蓝色时期的忧郁凝视、粉色时期的温柔叙事，到立体主义的革命性重构；从新古典主义的形体回归、超现实主义时期的心理张力，到反战创作的情绪表达、对西方艺术大师的重新对话，再至综合媒介实验与晚年奔放自由的艺术语言等，全面再现了这位20世纪最具创造力与影响力的天才巨匠一生的风格变奏。80件展品涵盖油画、炭笔画、铅笔画、雕塑、水彩、浮雕画、版画、陶瓷等几十余种创作材料，带领观众与二十世纪最具颠覆性的艺术革命遗产展开一场深度对话。

Picasso Through the Eyes of Paul Smith showcases, with rare breadth, the full spectrum of the artist’s iconic creative phases: from the melancholic gaze of the Blue Period and the tender narratives of the Pink Period, to the revolutionary reconstruction of Cubism; from the return to form of Neoclassicism and the psychological tension of the Surrealist period, to the emotional expression of anti-war works, the renewed dialogue with Western masters, and onward to experiments with mixed media, and the unrestrained visual language of his late years. It comprehensively reproduces the stylistic variations throughout the life of this most creative and influential genius of the 20th century. The 80 exhibited works include oil paintings, charcoal drawings, pencil drawings, sculptures, watercolors, relief paintings, prints, ceramics, and over a dozen other mediums, leading audiences into an in-depth conversation with the most subversive legacy of artistic revolution from the twentieth century.

▼开幕式，Opening ceremony

▼开幕现场表演，Opening performance

从巴黎到上海，以保罗·史密斯的当代感官再现毕加索奇迹人生

From Paris to Shanghai: The Re-presentation of Picasso’s Miraculous Life through the Contemporary Sensibility of Sir Paul Smith

作为当代时尚界的标志性人物，保罗·史密斯爵士（Sir Paul Smith）以跨越时尚、艺术、工业设计与生活方式的广阔视野，被视为当代创意文化的重要推动力量。他对色彩、材料与视觉语言的敏锐洞察，使其成为能够为毕加索提供全新解读路径的理想合作者。此次受邀担任展览艺术总监，他以其跨界视野与敏锐的视觉语言为展览注入当代语境下的全新观看方式。本次展览溯源自巴黎毕加索博物馆于2023年举办的“毕加索庆典：新视角下的收藏”（Picasso Celebration: The Collection in a New Light），彼时正值艺术家逝世五十周年。这一翘首以盼的展览如今登陆上海，馆方共同精选80件作品，在保留展览核心精神的基础上，根据浦东美术馆开放、独特的空间进行重新定制了不一样的展陈设计。保罗·史密斯爵士摒弃了近几十年来盛行的“白盒子”展示模式，以色彩、图案、条纹与物件为线索构建沉浸式展陈结构，使作品与空间产生富有节奏的呼应关系，引领观众“走进毕加索”，成为其艺术宇宙的同行者。

As an iconic figure in contemporary fashion, Sir Paul Smith with his broad vision spanning fashion, art, industrial design, and lifestyle, is regarded as a major driving force in today’s creative culture. His acute insight into colour, materials, and visual language positions him as an ideal collaborator, offering fresh interpretative pathways for Picasso. Invited to serve as Artistic Director of this exhibition, he infuses it with a new way of seeing within a contemporary context, drawing from his cross‑disciplinary perspective and keen visual sensibility. This exhibition develops from Picasso Celebration: The Collection in a New Light, organized by the Musée national Picasso‑Paris in 2023 on the fiftieth anniversary of the artist’s death. Now making its much‑anticipated appearance in Shanghai, the two museums have jointly selected 80 works and, while preserving the core spirit of the exhibition, have specially redesigned the display for the open, unique architecture of the Museum of Art Pudong. Rejecting the so‑called “white cube” fashion that has dominated recent decades, Sir Paul constructs an immersive scenography using colour, patterns, stripes, and objects to create a rhythmic resonance between artworks and space. Visitors can truly “walk into” Picasso’s world and encounter the artist’s creative universe as fellow travelers.

▼合影：左为艺术总监保罗·史密斯爵士，右为巴黎毕加索博物馆主席塞西尔·德布雷，

Portrait: Sir Paul Smith (left), Cécile Debray (right)

传统与当代的交汇：毕加索艺术在上海的再生长

The Convergence of Tradition and Contemporaneity: Picasso’s Renewed Presence in Shanghai

巴黎毕加索博物馆坐落于历史层次深厚的玛黑区核心地带，而浦东美术馆是立足于上海小陆家嘴核心区域的现代都市地标。二者之间的合作不仅是地理维度的连接，更是传统与当代、历史风貌与城市未来之间的深度呼应，恰如毕加索与保罗·史密斯爵士跨越艺术门类的交汇，都在不同文化语境中迸发出新的火花。作为全球规模最大的毕加索作品收藏机构，巴黎毕加索博物馆也是唯一一个涵盖毕加索所有绘画、雕塑、版画和素描作品的机构。其馆藏超过5000件毕加索原作，并收录约20万件档案文献，通过素描、习作、速写本、系列版画、摄影作品、插图书籍、电影和文献等形式，完整呈现艺术家毕加索从早期到晚年的创作历程。在此次展览中，毕加索的作品不再被固定在单一语境中，而是在浦东美术馆开放的现代空间里获得新鲜、具时代感的呈现方式，使这位世纪巨匠的思想与创造力在今日依旧保持锐度。通过与巴黎毕加索博物馆的深度合作，浦东美术馆不仅延续对国际艺术叙事的持续拓展，更在城市文化格局中构建起连接全球艺术经典与当代文化体验的重要桥梁。

The Musée national Picasso-Paris is located in the historic heart of Le Marais, while MAP stands as a contemporary landmark in Lujiazui. Their collaboration is not only a geographical connection but also a profound echo between tradition and contemporaneity, historical texture and urban future—much like the interdisciplinary dialogue between Picasso and Sir Paul Smith, both sparking new brilliance in different cultural contexts. As the world’s largest collection of Picasso’s works, the Musée national Picasso-Paris is also the only institution encompassing all of Picasso’s paintings, sculptures, engravings, and drawings. Its holdings include over 5,000 original works by Picasso and approximately 200,000 archive items, comprehensively presenting the artist’s creative process from his early to late years through sketches, studies, notebooks, print series, photographs, illustrated books, films, and documents. In this exhibition, Picasso’s works are no longer fixed in a single context but acquire a fresh, contemporary mode of presentation within MAP’s open, modern spaces, allowing the ideas and creativity of this master of the century to retain their sharpness today. Through deep collaboration with the Musée national Picasso-Paris, MAP extends its international curatorial reach and builds an urban cultural bridge connecting global artistic classics with contemporary cultural experiences.

▼展览入口，Exhibition entrance

以十余展厅重建毕加索艺术语言的全体系

Rebuilding Picasso’s Artistic Language Across More Than Ten Thematic Sections

“非常毕加索：保罗·史密斯的新视角”以十余个主题展厅呈现了毕加索跨越半个世纪的创作轨迹，集结油画、雕塑、水彩、陶瓷、版画等多种媒介，完整覆盖艺术家一生中所有重要时期。80件来自巴黎毕加索博物馆的代表性真迹，为中国观众构筑起迄今最完整、创作类型覆盖最全面的毕加索艺术光谱。展览在艺术史脉络与艺术家个人情绪之间找到均衡，呈现出毕加索在材料、形式与视觉语言上的持续革新，也延续了他始终追求的普世创作气质。

Picasso Through the Eyes of Paul Smith traces the trajectory of the artist’s half‑century career across more than ten thematic sections, bringing together oil painting, sculpture, watercolor, ceramics, prints, and other media to fully cover all key periods of his life. The 80 authentic masterpieces from the Musée national Picasso-Paris form the most complete and comprehensive spectrum of Picasso’s art ever presented to Chinese audiences. The exhibition achieves an equilibrium between art historical context and the artist’s personal emotions, highlighting Picasso’s continuous innovation in materials, form, and visual language, while also extending the universalism of his own creations.

▼展览开幕现场，Opening day at the exhibition

视觉重构的里程碑之作

Milestones of Visual Reinvention

作为展览主视觉之一的《阅读》（1932）展现了毕加索在玛丽–特蕾兹·瓦尔特时期的肖像语言：圆润的曲线与流动的色彩塑造出柔和却结构清晰的形象。保罗·史密斯爵士从画中提取“条纹”元素，将其延伸至展厅墙面，使观众在空间中获得更直接的视觉体验。立体主义时期的《圣心大教堂》（1909–1910）则体现“立体主义”对现实形体的重新组织，使具体建筑在画面中介于写实与抽象之间，为观众带来这一里程碑式艺术变革的关键面貌。

The Reading (1932), one of the exhibition’s visual anchors, exemplifies Picasso’s portrait language during his Marie-Thérèse Walter period: erotic curves and flowing colours which shape a soft yet structurally clear figure. Sir Paul Smith extracts the “stripes” element from the painting, extending it onto the gallery walls, offering viewers a direct and spatialized visual experience. The Sacré-Cœur (1909–1910) from the Cubist period embodies Cubism’s reorganization of real forms, situating a specific building between realism and abstraction on the canvas, presenting a key facet of this landmark artistic transformation to the audience.

▼巴勃罗·毕加索《阅读》1932 布面油画，

Pablo Picasso The Reading 1932 oil on canvas

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Mathieu Rabeau

▼《阅读》于展厅，The Readingin the gallery

▼观众参观《阅读》，Visitors exploringThe Reading

▼巴勃罗·毕加索《圣心大教堂》1909-1910 布面油画，

Pablo Picasso The Sacré-Cœur 1909-1910 oil on canvas

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Mathieu Rabeau

▼《圣心大教堂》于展厅，The Sacré-Cœurin the gallery

贯穿毕加索一生的创作密码

Creative Codes Running Through Picasso’s Life

儿童主题作品，如《装扮成喜剧丑角的保罗》（1924）与《与玩具卡车玩耍的孩子》（1953），则呈现了毕加索创作中柔和而富于象征的一面。毕加索一直将童年视为其创作中的核心，儿童在他的创作中既是描绘对象，也是引发形式革新的重要源泉。他借由儿童视角的天真与自由，从中提取新的线条与形体方式，寻求摆脱传统绘画规范的可能，“像孩子一样画画”成为贯穿他艺术生涯的内在愿望。

Works on childhood themes, such as Paul as Harlequin (1924) and Child Playing with a Toy Truck (1953), reveal a tender, symbolic side of Picasso’s practice. Picasso placed childhood at the heart of his work—as subject, symbol, creative stance, and driving force in search of forms. By drawing from the innocence and freedom of a child’s gaze, he extracted new approaches to line and form, seeking possibilities beyond academic convention. His aspiration to “remain a child” become a guiding thread through his oeuvre.

▼巴勃罗·毕加索《装扮成喜剧丑角的保罗》1924 布面油画，

Pablo Picasso Paul as Harlequin 1924 oil on canvas

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Adrien Didierjean

▼《装扮成喜剧丑角的保罗》于展厅，Paul as Harlequin in the gallery

▼观众参观《装扮成喜剧丑角的保罗》，Visitors exploringPaul as Harlequin

▼巴勃罗·毕加索《与玩具卡车玩耍的孩子》1953 布面油画，

Pablo Picasso Child Playing with a Toy Truck 1953 oil on canvas

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Adrien Didierjean

标志性名作《牛头》首次登陆中国

The Iconic Masterpiece Bull’s Head Debuts in China

首次来华展出的标志性作品《牛头》（1942）为展览开启视觉与意义的双重入口。由自行车鞍座与车把组合而成的这件作品，是毕加索艺术变形过程的典范之作。保罗·史密斯爵士也将这种跨媒材的幽默与直觉延伸至展览现场，让观众从“物件之美”直接进入艺术家的思维体系。此外，《斗牛：斗牛士之死》（1933）则体现毕加索对于斗牛的热情。画面以浓郁的色彩与定格般的动态表现关键情节，形成具有戏剧张力的画面结构。20世纪20—30年代，他围绕斗牛创作了大量绘画、素描与版画，显示出艺术家对该题材的持续兴趣。

The iconic work Bull’s Head (1942), on display in China for the first time, opens the exhibition both visually and conceptually. Composed of a bicycle saddle and handlebars, this work is the most famous transformation of a found object in Picasso’s oeuvre. Sir Paul extends this cross-media sensibility into the exhibition design, enabling visitors to apprehend Picasso’s creative logic through the “beauty of objects.” Furthermore, Bullfight: The Death of the Torero (1933) reflects Picasso’s fascination with bullfighting. The painting employs a vivid palette and a static dynamism to capture a pivotal moment, creating a composition that exudes dramatic tension. During the 1920s and 1930s, he created a significant body of work on the subject of bullfighting, demonstrating a long-standing interest in the theme.

▼巴勃罗·毕加索《牛头》1942 自行车鞍座与车把

Pablo Picasso Bull’s Head 1942 bicycle seat and handlebars

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Mathieu Rabeau

▼《牛头》于展厅，Bull’s Headin the gallery

▼观众参观《牛头》，Visitors exploringBull’s Head

▼巴勃罗·毕加索《斗牛：斗牛士之死》1933 板面油彩，

Pablo Picasso Bullfight: The Death of the Torero 1933 oil on wood

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Mathieu Rabeau

毕加索早期艺术革命的重要序章

Prelude to Early Revolution in Form

蓝色时期的代表作《男人肖像》（1902–1903）展现毕加索早期创作的精神基调。画中人物独坐于室内，被冷峻的蓝色调所包裹，画面从叙事转向对人物内心情绪的凝视。这一阶段的作品多以边缘群体为主题，往往被视为人类苦难的象征。随之而来的粉色时期与早期立体主义，在《女人或水手胸像》(《阿维尼翁的少女》研习稿)（1907）中获得过渡性的体现。作品粗砺的造型与原始能量源于毕加索对原住民文化、非洲与大洋洲艺术的兴趣，他在大量素描、速写与构图实验中逐步确立新的体积与形体逻辑，为《阿维尼翁的少女》的创作奠定了视觉基础。

Portrait of a Man (1902–1903), a representative work of the Blue Period, reveals the spiritual tone of Picasso’s early work. The solitary figure is seated indoors, surrounded by a palette of bluish tones, as the image evolves from a narrative to a contemplation of the subject’s inner emotions. Works from this phase often focus on marginalized groups and are frequently seen as symbolic embodiments of human suffering. The subsequent Pink Period and early Cubism find transitional expression in Bust of a Woman or a Sailor (Study for ‘Les Demoiselles d’Avignon’) (1907). The work’s crude forms and primal energy stem from Picasso’s interest in indigenous cultures and African and Oceanic art. Through extensive sketches, studies, and compositional experiments, he gradually established a new logic of volume and form, preparing the ground for the painting Les Demoiselles d’Avignon.

▼巴勃罗·毕加索《男人肖像》1902-1903 布面油画，

Pablo Picasso Portrait of a Man 1902-1903 oil on canvas

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Mathieu Rabeau

▼巴勃罗·毕加索《女人或水手胸像》（《阿维尼翁的少女》研习稿）1907 纸板油画，

Pablo Picasso Bust of a Woman or a Sailor (Study for ‘Les Demoiselles d’Avignon’) 1907 oil on cardboard

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Adrien Didierjean

跨越百年的艺术史对话标杆

Benchmarks for Art Historical Dialogue Across a Century

《草地上的午餐》系列的再创作，则呈现毕加索如何在20世纪50年代重新回到艺术史经典，与马奈展开跨越时空的对话。他围绕同一主题创作了大量绘画、素描与版画，通过姿态、构图与场景的调整解构视觉结构。该系列作品的规模之庞大，在毕加索与艺术史传统的正面对话中占据独特地位。陶瓷作品如《饰有大胡子农牧神头像的长盘》（1948）呈现毕加索在瓦洛里斯时期的另一类实验。他以传统器形为基础，通过塑形、绘制与变形，使盘、壶、砖块转化为动物或神祇的面孔。这些创作不仅显示了艺术家在陶艺领域的灵活和幽默，更反映其对材料和形式的不断拓展，这些探索也反哺了他同期的绘画与雕塑实践。此外，展览还包括“玩转时尚的艺术鬼才”“集合与拼贴”“古典主义画家”“战争期间”“海魂衫”“晚期创作：1969—1972年”“展览中的毕加索”等展厅，进一步延展艺术家的主题探索，使观众得以从多维度理解毕加索在材料、手法、题材与风格上的持续拓展。整体展览共同勾勒出毕加索作品在国际艺术史中的重要位置，以及其跨越时空、持续影响当代视觉文化的深刻力量；在今日文化景观不断变动的背景下，他的艺术仍保持清晰的轮廓与穿透力。

Picasso’s reworkings of The Luncheon on the Grass in the 1950s show how he returned to canonical works to engage in a trans-temporal dialogue with Manet, producing numerous paintings, drawings, and linocuts that deconstruct the classical composition through adjustments in posture, setting, and arrangement. The sheer scale of this series occupies a unique place in Picasso’s direct confrontation with art historical tradition. Ceramic works like Rectangular Platter Decorated with the Head of a Bearded Faun (1948) present another type of experiment from Picasso’s Vallauris period. Using traditional vessel forms as a base, through shaping, painting, and transformation, he turned plates, jugs, and bricks into faces of animals or deities. These creations not only demonstrate the artist’s flexibility and humor in the field of ceramics but also reflect his continuous expansion of materials and forms—explorations that, in turn, nourished his contemporaneous painting and sculptural practice. The exhibition also features thematic sections including “An Artist in Vogue,” “Assemblages and Collages,” “Classical Painter,” “Wartime,” “Picasso’s Striped Sailor Shirt,” “The Late Period: 1969–1972,” and “Picasso on Show,” offering multiple vantage points on Picasso’s evolution in medium, technique, subject and style. Collectively, these sections underscore Picasso’s pivotal place in international art history and his sustained influence on contemporary visual culture.

▼巴勃罗·毕加索《仿马奈〈草地上的午餐〉》1960 布面油画，

Pablo Picasso ‘The Luncheon on the Grass’ after Manet 1960 oil on canvas

© Succession Picasso 2025 / GrandPalaisRmn (Musée national Picasso-Paris) / Mathieu Rabeau

▼《仿马奈〈草地上的午餐〉》于展厅，‘The Luncheon on the Grass’ after Manetin the gallery

▼巴勃罗·毕加索《饰有大胡子农牧神头像的长盘》1948 白瓷土 饰以珐琅和泥釉图案

Pablo Picasso Rectangular Platter Decorated with the Head of a Bearded Faun

1948 white clay earthenware with enamel and slip decoration

© Succession Picasso 2025 /GrandPalaisRmn (Musée national Picasso-Paris) / Mathieu Rabeau

▼《饰有大胡子农牧神头像的长盘》于展厅，Rectangular Platter Decorated with the Head of a Bearded Faunin the gallery

两位国际大师跨界视角下的共同语言

A Shared Language Shaped by Two International Masters

作为本次展览艺术总监，英国设计师保罗·史密斯爵士（Sir Paul Smith）并非以艺术史学家的身份介入，而是以设计师的直觉、时尚的敏感和生活家的好奇心，为毕加索的作品注入当代气息。这种以个人感知与生活经验为出发点的呈现方式，与毕加索终其一生从日常物件汲取灵感、将平凡转化为艺术符号的创作路径不谋而合。在展陈设计上，保罗（Sir Paul）摒弃了传统做法，转而营造充盈而富有戏剧性的氛围。自1970年开设首间店铺以来，他以持续不断的创意活力与大胆运用色彩和条纹闻名全球。在本次展览中，他凭借敏锐的视觉直觉与幽默感，重新诠释毕加索的多重身份与创作可能，使公众得以从新的视角接近这位革新者：既是一位改写传统的艺术家，也是一位在色彩与形式中不断实验、充满游戏精神的创造者。展墙本身成为跨界对话的载体：在“古典主义画家”主题空间中，素描作品密集悬挂，灵感来自巴黎沙龙的经典陈列，同时呼应Paul Smith店铺中的“艺术墙”理念，实现传统与现代的平行对话；在“条纹”主题空间，毕加索作品中的线条与保罗标志性的彩色条纹叠加，形成图案与图案的互动；部分展厅则借鉴巴黎街头的“城市牛皮癣”手法，贴满毕加索历史展览海报，以直白的重复制造视觉冲击。这些设计不仅融合了两位艺术家的视觉元素，更让观展体验本身成为一场沉浸式、充满节奏与情感的视觉旅程。保罗·史密斯爵士表示，他希望打造一种更强调视觉感受与直觉接受的观展方式，使年轻观众与初识毕加索的公众都能在色彩、乐观精神与横向思维中获得启发。在他看来，展览空间本身即是一件“作品”，作为极具吸引力的打卡现场，让观众在直观愉悦中感受两位创造者共通的精神，使“超越日常、打破边界”成为毕加索在当代语境中的鲜活回响。

As Artistic Director of the exhibition, British designer Sir Paul Smith approaches the project not as an art historian but with a designer’s intuition, a fashion-driven sensitivity, and the curiosity of an observer of everyday life—qualities that infuse Picasso’s works with a distinctly contemporary spirit. This approach, grounded in personal perception and lived experience, mirrors Picasso’s own lifelong practice of drawing inspiration from ordinary objects and transforming the everyday into enduring artistic symbols. In terms of exhibition design, Sir Paul rejects traditional approaches, instead creating an abundant and theatrical atmosphere. Since opening his first store in 1970, Sir Paul Smith has become renowned worldwide for his unceasing inventiveness and bold use of colour and stripes. In this exhibition, with his sharp visual intuition and playful wit, he reframes the artist’s diverse identities and creative possibilities, allowing the public to approach this revolutionary from another angle: not only as an artist who reshaped tradition but also as a maverick passionately absorbed in restless play and experiment with colour and form. The exhibition walls themselves act as conduits for cross-disciplinary discourse. In the “Classical Painter” section, drawings are densely hung in a manner inspired by the historic Paris Salon walls, while simultaneously echoing the “art wall” concept found in Sir Paul Smith’s shops, creating a parallel conversation between tradition and modernity. In the “Stripes” section, linear elements from Picasso’s works overlap with Sir Paul Smith’s signature multicolored stripes, generating an interplay of patterns. Other sections adopt the Parisian “flyposting” technique, covering walls with historic Picasso exhibition posters whose direct, repetitive layering heightens visual impact. These scenographic choices blend the visual vocabularies of both creators, turning the viewing process itself into an immersive journey of rhythm, emotion and discovery. Sir Paul Smith has expressed his aspiration to establish a visual style that emphasizes sensory perception and intuitive response, with the objective of inspiring younger audiences and those new to Picasso through the use of colour, optimism, and lateral thinking. He considers the exhibition space itself to be a “work” in its own right, serving as an engaging social backdrop where visitors can feel the shared spirit of the two creators through direct pleasure. This makes “the unconventional, boundary-breaking spirit” a vivid reverberation of Picasso in the present.

▼展墙成为跨界对话的载体，Exhibition walls act as conduits for cross-disciplinary discourse

持续拓展文化叙事：浦东美术馆的国际视野与城市文化能量

Continuously Expanding Cultural Narratives: MAP’s International Vision and Urban Cultural Energy

延续浦东美术馆近年来的国际展览矩阵，本次展览继“缔造现代：来自巴黎奥赛博物馆的艺术瑰宝”，与同月启幕的卢浮宫“图案的奇迹：卢浮宫印度、伊朗与奥斯曼的艺术杰作”大展之后，再度与法国顶级博物馆携手，彰显美术馆在构建东西方文明对话、引领城市艺术视野方面的持续探索。通过系统呈现现代艺术核心力量的创作成果，上海观众得以在本土空间内直面国际艺术的多样维度。卢浮宫展与毕加索展两大国际重磅展览在浦美并行呈现，共同勾勒出跨越文化体系与历史的城市艺术场景。作为上海城市文化的新标志性艺术场域，浦东美术馆正通过全球合作拓展文化艺术的叙事纬度，使观众得以在同一馆内阅读不同文明、媒材与视觉传统的丰富章节。此外，为进一步拓展观展体验并培养少儿艺术兴趣，浦东美术馆首次面向6—15岁青少年招募“小小语音导览员”。在专业指导下，孩子们深入了解毕加索及其艺术作品，并参与展览幕后录音工作，近距离感受展览制作与艺术呈现的过程，支持下一代以直觉、兴趣与创造力进入艺术之门。工作坊、展览画册及文创衍生品等同步配套推出，让艺术在公共层面获得进一步的触达与循环。“非常毕加索：保罗·史密斯的新视角”不仅呈现一位艺术巨匠跨越半个世纪的创造轨迹，更向公众展示经典如何在当代重新被理解、阅读与生成。在浦东美术馆，这场跨越时间与领域的对话，为城市文化带来新的观看方式。

Following MAP’s recent program—Paths to Modernity: Masterpieces from the Musée d’Orsay, Paris and the concurrently presented Louvre exhibition The Wonder of Patterns: Masterpieces from India, Iran and the Ottoman World—this collaboration with the Musée national Picasso-Paris further affirms MAP’s role in fostering East-West cultural dialogue and advancing Shanghai’s international cultural profile. By presenting a core pillar of modern art within a local context, MAP enables Shanghai audiences to engage directly with multiple dimensions of international art under one roof. The joint presentation of the Louvre and Picasso exhibitions at MAP offers a broad, multilayered urban cultural narrative that spans civilizations and historical periods. To broaden public engagement and cultivate young audiences, MAP is recruiting, for the first time, “Young Audio Guide Narrators” aged 6–15. Under professional guidance, participants will deepen their understanding of Picasso and contribute to behind-the-scenes recording for the exhibition, gaining hands-on exposure to exhibition production and interpretation. A program of workshops, the exhibition catalogue and a range of cultural and creative products will accompany the show to extend its public reach. Picasso Through the Eyes of Paul Smith not only presents the creative arc of a master across half a century but also demonstrates how the classics may be reinterpreted and reactivated in contemporary contexts. At the Museum of Art Pudong, this cross-temporal, cross-disciplinary dialogue brings a fresh way of seeing to the city’s cultural landscape.

▼展览现场近景，Exhibition close view

【鸣谢】

“非常毕加索：保罗·史密斯的新视角”展览墙面涂料由立邦中国提供。

【关于浦东美术馆】

浦东美术馆（MAP）位于上海小陆家嘴滨江核心区，于2017年9月26日启动建设，2021年7月正式向公众开放。浦东美术馆由陆家嘴集团投资、建设和运营，由让·努维尔（AJN）事务所设计，以国际艺术展示交流为主、兼顾国内艺术展示，突出展览、美育、文创、国际交流四大功能，致力于建设成为上海国际文化场馆新地标和国际文化艺术交流的重要平台。

【关于巴黎毕加索博物馆】

巴黎毕加索博物馆坐落于巴黎历史城区内一座瑰丽的17世纪宅邸中，馆藏毕加索作品数量在全球公立机构中位居第一，大部分藏品均直接来自毕加索工作室。其中大部分在1973年4月8日艺术家逝世后不久，便由其工作室转入法国国家收藏。其藏品超过5000件，档案藏品约20万件。它是世界上规模最大的毕加索作品收藏机构，也是唯一一个涵盖毕加索所有绘画、雕塑、版画和素描作品的机构，并通过素描、习作、速写本、系列版画、摄影作品、插图书籍、电影和文献等形式，完整呈现了艺术家毕加索从早期到晚年的创作历程。

【关于保罗·史密斯】

保罗·史密斯（Paul Smith）是英国领先的独立设计品牌。Paul Smith积极倡导正能量、好奇心和创造力，这些特质潜藏在品牌的每一项设计背后，无论是一件衬衫、一家门店还是一次联名。作为拥有国际视野的英国品牌，Paul Smith始于1970年英国诺丁汉的一家9平方米的小店，如今门店已多达130家，遍布全球60多个国家。