Maurizio Cattelan, ‘Untitled (Picasso)’, 1998, Artificial Gallery
Maurizio Cattelan, ‘Untitled (Picasso)’, 1998, Artificial Gallery
Maurizio Cattelan, ‘Untitled (Picasso)’, 1998, Artificial Gallery

Original pencil drawing by Maurizio Cattelan - a study for the Picasso project at MOMA (NYC), 1998, in which Cattelan focused on the artist Pablo Picasso. By using his likeness in effigy, Cattelan elevates Picasso to a position in European Carnivale celebrations most often reserved for world leaders. An actor in a Carnivale-type Picasso mask also greeted visitors to the Museum during the run of the exhibition.

A. C. Quintavalle, Carte Italiane. Opere su carta dal 1950 al 2000 della collezione "CartaSi", Milan 2000 (illustrated in colour, p. 83).

Anthony d’Offay Gallery, London.
CartaSi Collection, Milan.

About Maurizio Cattelan

Nothing is sacred to Maurizio Cattelan, the art world’s resident jokester who has been variously amusing and horrifying viewers since the early 1990s. For his 2012 retrospective at the Guggenheim, “All,” Cattelan hung the full range of his iconoclastic sculptures from the center of the museum’s sanctified rotunda—including waxworks of a miniature Hitler, Pope John Paul II struck down by lightning, JFK in a coffin, and the artist himself hung by his neck, accompanied by several of his trademark taxidermies, including an ostrich burying its head, a squirrel who’s just committed suicide, and Novecento, the dangling horse that is perhaps his most career-defining work. “My aim is to be as open and as incomprehensible as possible,” he says. “There has to be a perfect balance between open and shut.” A prolific curator and writer outside of his artistic practice, Cattelan is seen by many as one of Duchamp’s greatest contemporary heirs, enacting morbidly humorous transformations on objects and history alike.

Italian, b. 1960, Padua, Italy, based in New York, New York