Picasso's Message of Peace Comes to Colombia's War ; Skeptical Collectors Loan Prized Paintings to a Country More in the News for Civil Strife Than Art Appreciation

Article excerpt

The name Pablo Picasso evokes images of bizarre portraits with eyeballs where ears should be and surreal faces quartered in red and green cubes.

And, there's "Guernica."

The forbidding painting of war shows wounded horses braying, terrified people running through chaos. So, Mr. Picasso is not the first guy you'd think of as the poster child of artists for peace.

But his jarring work was meant to promote just that. When Nazi officials asked him, "Did you do this?" the painter answered, "No, you did."

If one of the goals of art is to foster reflection on the social condition, what better place to showcase a thought-provoking artist like Picasso than war-torn Colombia?

That was Sylvestre Verger's rationale in 1998 when he proposed bringing the first Picasso exhibit ever to Bogot. But, as soon as the French art exhibit producer started asking museums to lend their precious masterpieces, he realized that portraying Colombia as a safe venue would be as tough as decoding some of Picasso's Blue Period paintings.

Still, Mr. Verger persisted with the "Picasso in Bogot" exhibit, because he wanted the painter's work to "have the impact the artist meant it to have, in a country where it's needed."

"This was a man opposed to all war," says Verger. "And his work here in Colombia is a statement for peace."

Armed with these apparently quixotic ideas , Verger began asking museums to loan Picassos to Colombia's National Museum in 1998, after he did an exhibition there of pre-Impressionist Eugne Boudin. But Verger says that "only one in 100 said yes." Some said they needed their Picassos for new millennium shows. A few, said that he hadn't given enough notice. Others said they didn't want to risk their paintings "in a country like Colombia."

Pablo Vallecilla, Latin American art expert with Sotheby's New York explains that despite best intentions, big-name art institutions are just not going to relinquish prized masterpieces without some serious convincing. "Unfortunately, museums have to make decisions on such important collections through their boards of directors, and members of these boards may only know what appears in the press about a given country," he says.

"And what you see in the press about Colombia is embarrassingly frightening," adds Mr. …


An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.