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HORARIO

D.L.: M-40798-2010
Tuesday to Thursday, 10 am to 8 pm
Fridays to Saturdays, 10 am to 9 pm
Sundays and public holidays, 10 am to 8 pm
24 and 31 December, 10 am to 3 pm
Closed on Mondays, 25 December and 1 January

ADMISSION FEES
Permanent collection: 6.00 euros
Temporary exhibition: 4.50 euros
Combined ticket: 8.00 euros
Ticket sales cease 30 minutes before closing time

REDUCED FEES (50%)

Visitors over 65
Students under 26 with valid identification
Groups of 20 people (by appointment)

FREE ADMISSION
Youths aged 18 and younger
(children 12 and younger accompanied by an adult)
Holders of EURO<

Toys of the Avant-Garde

Students of the Universidad de Málaga with valid identification
ICOM members
Last Sunday of every month

ADVANCE TICKET SALES

Tickets may be bought in advance by calling (34) 902 360 295
or online at www.generaltickets.es
Advance tickets are retrieved on the day of visit at the Museum’s ticket desk,

04/10/2010 – 30/01/2011
upon compulsory presentation of a credit card and a valid identity card
or passport. The Museum and Unicaja decline any liability in the event
of loss or theft of tickets. Tickets once bought may not be cancelled,
replaced or refunded
The guided visits to the exhibition: Charlas en el Museo given in Spanish
every Thursday at 6.00 pm. For other guided visits, please contact:
educacion@mpicassom.org
Promises for the future. Blaise Cendrars and the Children’s Book in
the USSR. 1926-29 is a section of this exhibition and is a coproduction
of the Museo Picasso Málaga with the MuVIM. Museu Valencià de la
Il-lustració i de la Modernitatt
Fig. 1
Palacio de Buenavista
C/ San Agustín, 8, 29015 Málaga
General information: (34) 902 44 33 77
Switchboard: (34) 952 12 76 00
info@mpicassom.org. www.museopicassomalaga.org

Cover (detail)
Ladislav Sutnar (1897-1976)
Build the Town, 1943
Painted wood, 30 pieces. Various dimensions
Fig. 1 Museum of Decorative Arts of Prague
© Ladislav Sutnar reproduced with the permission of The Ladislav Sutnar Family
Oskar Schlemmer (1888-1943)
Jumping-Jack, 1942
Lacquer sprayed on cardboard, bells, metal and string © Of the text: Museo Picasso Málaga
48.5 x 38 cm © Joaquín Torres García, Kurt Schwitters, Paul Klee,
Bühnen Archiv Oskar Schlemmer, Collection UJS Vladimir Vassilievitch Lebedev. VEGAP, Málaga 2010
© 2010 The Oskar Schlemmer Theatre © Calder Foundation New York/ VEGAP, Málaga 2010
Estate, Photo Archive C. Raman Schlemmer, © Sucesión Schlemmer, Archives and Secretariat:
www.schlemmer.org Oggebbio, Italia, 2010
 0579_triptico_ING#2.ai 2 22/09/10 17:03

were groups of artists who enthusiastically embraced them in

the hope that their aesthetic proposals would become a reality
on a social level.

While art was evolving, there was a simultaneous consolidation

of pedagogical ideas that highlighted the cultural and social
aspects of education. In addition, they pointed to the need for
a scientific methodology in order to understand and assess
influencing environmental factors. The new educational thinking
emphasised the importance of scientific pedagogy, educational
materials and the collaborative aspects of this endeavour. It could
be said that the teacher went from being an adult who moulded
the child into his or her own image to one who used the new
approach to allow the child to exist in its own right.

In addition to these contributions, which were the subject of Fig. 4

serious study by various artists (including Joaquín Torres-García,

Kurt Schwitters and Ladislav Sutnar), reference should be made to
the psychoanalytical theories of Freud and his followers, which also Sougez, focused on the application of new treatments of the image,
had a major influence on art. These theories supported the new and their books systematically use photography, photomontage
pedagogy by criticising traditional educational systems while and typographical montage. In addition, figures such as Vladimir
expanding the teacher’s knowledge of the child and offering Vasilievich Lebedev and his collaborators developed a non-elitist
a means to resolve problems affecting the child during the visual language that combined Constructivism and tradition to bring
Fig. 2 Fig. 6
educational process. It could thus be said that during the inter-war modern art closer to the world of the child. Finally, we should
period, art and pedagogy developed within the same context, mention names like Picasso, Klee and Miró, who made works for
ran along parallel lines, experienced similar contradictions and children as an expression of one more way of looking at the world. Fig. 2
Among their activities, a large number of artists, writers and moved towards the same end. Paul Klee (1879-1940)
architects associated with many of the twentieth century’s art Untitled (Electric Spook), original, 1923 (replica, 2006–08)
With the passing of time, many of these projects, which were
Head: ceramic socket, metal and partly painted plaster; costume:
movements specifically focused on producing objects for children, The work of the artists involved reveals a variety of different so closely associated with the world of childhood, have come two different fabrics, metal ring. Puppet: 38 cm
including books, toys and furniture that were published, made and directions. We thus encounter examples such as Josef Lada, whose to be considered among the finest examples of Futurism, Zentrum Paul Klee, Berne
distributed by commercial firms. We also encounter numerous starting point was popular art. This type of art was considered by Constructivism, Surrealism, and many of the other visual
architectural projects that took definitive shape in the form of Fig. 3
educationalists to be an exceptionally important resource which, and literary trends that prevailed in the decades in question.
schools, holiday villages and children’s homes. Kurt Schwitters (1887-1948)
because it was transmitted from generation to generation, Merz 14/15: Die Scheuche / Merz 14 /15: The Scarecrow
represented a connecting link between adult and child as well as a Typography: Kurt Schwitters, Käte Steinitz and Theo van Doesburg
A study of avant-garde ideas reveals that the artists who shared focal point for the conservation of traditional culture. Other artists, Hanover, Appos Verlag, 1925
them attempted, obsessively at times, to implant their aesthetic 20.7 x 24.4 cm
such as Alexander Rodchenko, Barbara Stepanova and Emmanuel
IVAM, Institut Valencià d'Art Modern, Generalitat
principles in society. In other words, they aimed to invest all
© IVAM. Foto: Juan G. Rosell
everyday activities with their ideals and to contribute as a result
to the birth of a new type of lifestyle. Hence their interest in the Fig. 4
world of children, who could be brought by early contact with Alexander Calder (1898-1938)
the forms and concepts of modern art and the social ideas Circus. Horse, 1926–32
Ink on paper, 28 x 22 cm
underlying them to assimilate and accept them with absolute Collection Maeght, Paris
normality. As a result, children became the vehicles for the
longed-for transformation that, according to László Moholy-Nagy, Fig. 5
“would lead man to an enriched enjoyment of his modern world.” Joaquín Torres-García (1874-1949)
Two Men, c. 1929–30
Painted wood and nails, 22.2 x 7.6 x 1.9 cm / 26 x 8.9 x 1.9 cm
These approaches, however, did not arise in an isolated fashion. Private collection, New York
In the first quarter of the twentieth century, political and social
ideas emerged that aimed at a radical break with earlier Fig. 6
outmoded ones, while new forms of government also appeared. Vladimir Vasilievich Lebedev (1891-1967)
Associated with the ideas that represented political change Circus
Leningrad, Moscow: Giz, 1928
– Communism, Fascism, or the democratic models that gave 29.5 x 22.5 cm
rise to republics in the former empires of Central Europe – Fig. 3 Fig. 5 Ville de Paris - Bibliothèque l'Heure Joyeuse