In every training process, artists learn from the masters; they copy the techniques, styles and works of their predecessors until they mature their own creative personality. This evolution necessarily involves imitating, repeating and interpreting the most representative pieces of art history as references. From there, the particular identity of the artist builds up, which is sometimes supported by previous works to offer an updated reading. This has happened with Duchamp, Modigliani, Damien Hirst, Goya, Bacon ... and Picasso himself.

Pablo Picasso, “Meninas”, 1957

Picasso used to say that "great artists copy, geniuses steal". This master of the 20th century also wanted to reinterpret some of the most iconic works of the history of painting and to do so he has sought inspiration in major European museums, such as the Prado or the Louvre. With his work, the author from Malaga adapted to the new times of modernism based on the classics.

Pablo Picasso, "Jacqueline con sombrero de paja", 1962

The Círculo de Bellas Artes hosts the exhibition "Picasso and the Museum" in which it explores this facet so little studied by the painter. Much has been written about the origin of Cubism and the imprint of Picasso in the universal history of painting, however, his work has not always been analysed from the perspective of his great influences.

Pablo Picasso, “Hombre con gorguera”, 1962

Since Picasso visited the Prado when he was 13 years old, the impact of these great works, which so much impressed him, can be traced in many of his compositions. Ingres, Manet, Velázquez, Courbet, Zurbarán, Delacroix, Rembrandt ... have left a mark, not always evident, in the author's imagination. Sometimes hidden among the angles of his cubic figures or hidden among the strokes of his sketches ... the inspiration has a lot of homage and imitation.

The exhibition is open until May 16th and completes with a program of guided tours and children's activities designed to understand better this unexplored aspect of Picasso’s work.

The work of Cedric Le Corf (Bühl, Germany, 1985) is situated in a territory of friction, where the archaic impulse of the sacred coexists with a critical sensibility characteristic of contemporary times. His practice is grounded in an anthropological understanding of the origin of art as a foundational gesture: the trace, the mark, the need to inscribe life in the face of the awareness of death.

The artist establishes a complex dialogue with the Spanish Baroque tradition, not through stylistic mimicry, but through the emotional and material intensity that permeates that aesthetic. The theatricality of light, the embodiment of tragedy, and the hybridity of the spiritual and the carnal are translated in his work into a formal exploration, where underlying geometry and embedded matter generate perceptual tension.

In Le Corf’s practice, the threshold between abstraction and figuration is not an opposition but a site of displacement. Spatial construction and color function as emotional tools that destabilize the familiar. An open methodology permeates this process, in which planning coexists with a deliberate loss of control. This allows the work to emerge as a space of silence, withdrawal, and return, where the artist confronts his own interiority.

The Fall. 2025. Oil on canvas.195 × 150 cm.

In your work, a tension can be perceived between devotion and dissidence. How do you negotiate the boundary between the sacred and the profane?

In my work, I feel the need to return to rock art, to the images I carry with me. From the moment prehistoric humans became aware of death, they felt the need to leave a trace—marking a red hand on the cave wall using a stencil, a symbol of vital blood. Paleolithic man, a hunter-gatherer, experienced a mystical feeling in the presence of the animal—a form of spiritual magic and rituals linked to creation. In this way, the cave becomes sacred through the abstract representation of death and life, procreation, the Venus figures… Thus, art is born. In my interpretation, art is sacred by essence, because it reveals humankind as a creator.

Between Dog and Wolf II. 2025. Oil on canvas. 97 × 70 cm.

Traces of the Spanish Baroque tradition can be seen in your work. What do you find in it that remains contemporary today?

Yes, elements of the Spanish Baroque tradition are present in my work. In the history of art, for example, I think of Arab-Andalusian mosaics, in which I find a geometry of forms that feels profoundly contemporary. In Spanish Baroque painting and sculpture, one recurring theme is tragedy: death and the sacred are intensely embodied, whether in religious or profane subjects, in artists such as Zurbarán, Ribera, El Greco, and also Velázquez. I am thinking, for example, of the remarkable equestrian painting of Isabel of France, with its geometry and nuanced portrait that illuminates the painting.

When I think about sculpture, the marvelous polychrome sculptures of Alonso Cano, Juan de Juni, or Pedro de Mena come to mind—works in which green eyes are inlaid, along with ivory teeth, horn fingernails, and eyelashes made of hair. All of this has undoubtedly influenced my sculptural practice, both in its morphological and equestrian dimensions. Personally, in my work I inlay porcelain elements into carved or painted wood.

Between Dog and Wolf I. 2025. Oil on canvas. 97 × 70 cm.

What interests you about that threshold between the recognizable and the abstract?

For me, any representation in painting or sculpture is abstract. What imposes itself is the architectural construction of space, its secret geometry, and the emotion produced by color. It is, in a way, a displacement of the real in order to reach that sensation.

The Anatomical Angel. 2013. Ash wood and porcelain. 90 × 15 × 160 cm.

Your work seems to move between silence, abandonment, and return. What draws you toward these intermediate spaces?

I believe it is by renouncing the imitation of external truth, by refusing to copy it, that I reach truth—whether in painting or in sculpture. It is as if I were looking at myself within my own subject in order to better discover my secret, perhaps.

Justa. 2019. Polychrome oak wood. 240 × 190 × 140 cm.

To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

It is true that, on occasions, I completely forget the main idea behind my painting and sculpture. Although I begin a work with very clear ideas—preliminary drawings and sketches, preparatory engravings, and a well-defined intention—I realize that, sometimes, that initial idea gets lost. It is not an accident. In some cases, it has to do with technical difficulties, but nowadays I also accept starting from a very specific idea and, when faced with sculpture, wood, or ceramics, having to work in a different way. I accept that.