（来源：上观新闻） 正在上海浦东美术馆举行的"非常毕加索：保罗·史密斯的新视角"自开幕以来，吸引了大批观众。 "非常毕加 索：保罗·史密斯的新视角"展览现场 陈俊珺摄 否定是创造的源泉 毕加索一生留下了三万余件作品，他无穷无尽的创造精神、源源不断的创作灵感，在艺术史上是极其出 众的。 正在浦东美术馆举行的"非常毕加索：保罗·史密斯的新视角"展览，呈现了巴黎毕加索博物馆收藏的80 件毕加索作品。数量虽不算很多，但涵盖了油画、炭笔画、铅笔画、雕塑、水彩、浮雕画、版画、陶瓷 等几十种创作材料。相信许多观众看完展览后都会有同感——生活中的任何事物似乎都能激发毕加索的 创作灵感。 展览的第一件展品《牛头》就是一件变废为宝的偶得。毕加索61岁那年，在参加一次葬礼的途中路过垃 圾场，偶然发现了一个自行车鞍座和车把，他突发奇想，用这两个不起眼的废弃物完成了名为《牛头》 的雕塑。 本次展览的艺术总监保罗·史密斯非常喜欢这个"牛头"，毫不犹豫地将其作为开场作品。在他看来，毕 加索擅长用幽默的眼光看待世界，通过不同寻常的组合赋予事物意想不到的用途，创造出全新的形式。 毕加索留给这个世界的究竟是什么？在华东师范大学孙乃树教授看来，答 ...

巴勃罗·毕加索《男人肖像》1902—1903，布面油画 巴勃罗·毕加索《斗牛：斗牛士之死》1933，板面油彩 巴勃罗·毕加索《圣心大教堂》1909—1910，布面油画 巴勃罗·毕加索《牛头》1942， 自行车鞍座与车把 巴勃罗·毕加索《阅读》1932，布面油画 毕加索就是这样一位对绘画技艺近乎痴迷到"偏执"的伟大艺术家。这从这次展览中毕加索对于马奈的 《草地上的午餐》（1863年）的仿作《仿马奈〈草地上的午餐〉》等作品中就可见一斑。而这些仿作并 非作自其青年学艺时期，而是作于上世纪六十年代前后，此时的他已届八十高龄且早已功成名就，但他 还在孜孜不倦地反复揣摩《草地上的午餐》的人物形态、画面色彩、空间构成，将其予以"变体"，他创 作了二十多幅油画和一百多幅素描和版画作品。而在此前的1957年四个月的时间里，他还对西班牙前辈 画家委拉斯凯兹的名作《宫娥》反复拆解和重构，充满激情地创作了五十多幅变体作品，给予其焕然一 新的立体面貌。而毕加索之所以要如此疯狂地向自己景仰的大师名作学习，就是因为对于真正的艺术家 来说，每次创作都是新的开始，每次创作都是自我创造的过程，同时也是向他人学习的过程。 对艺术形式的创新 艺术之 ...

Core Perspective - The exhibition "Very Picasso: Paul Smith's New Perspective" at the Shanghai Pudong Art Museum offers a unique and vibrant exploration of Pablo Picasso's works, curated by fashion designer Paul Smith, breaking away from traditional art exhibition formats [11][13][18]. Group 1: Exhibition Concept - The exhibition is not a conventional academic display but rather a creative exploration that invites viewers to engage with Picasso's art through a lens of color, humor, and optimism [11][13]. - Paul Smith, as the artistic director, emphasizes a non-linear approach to curating, focusing on visual instinct rather than chronological order, allowing for a more intuitive experience [13][14]. - The exhibition features a diverse range of Picasso's works, including sketches, caricatures, and ceramics, showcasing his experimental and personal expressions rather than just completed masterpieces [15][18]. Group 2: Innovative Presentation - The exhibition space, designed by Jean Nouvel, transforms the traditional viewing experience into a dynamic and modern environment, enhancing the interaction between the artworks and the audience [14][18]. - Smith's use of bold stripes and patterns throughout the exhibition creates a dialogue between the artworks, challenging conventional museum practices and fostering a lively visual atmosphere [16][17]. - The layout mimics the crowded and eclectic nature of early Parisian salons, inviting viewers to experience Picasso's creative process in a more intimate and accessible manner [12][14]. Group 3: Audience Engagement - The exhibition aims to resonate with younger audiences, encouraging them to appreciate the vibrancy and creativity of Picasso's work, fostering a sense of connection to their own creative impulses [18][19]. - Smith's vision is to inspire visitors to see art as a source of joy and exploration, aligning with Picasso's own artistic ethos of curiosity and experimentation [18][19]. - The exhibition ultimately serves as an invitation for viewers to engage with art in a personal and meaningful way, encouraging them to "look again" at both Picasso's works and their surroundings [19].