Reconsidering modern art’s sacred monster: Picasso in a post-MeToo world

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Pablo Picasso’s problematic relationship with the opposite sex has long been documented: by the women who shared his life and by the art critics and biographers who relayed the artist’s musings, such as “there are only two kinds of women: goddesses and doormats”. As the Picasso Museum in Paris invites feminist artist ORLAN to revisit his portraits in “Weeping Women Are Angry”, we speak to art critic and author Judith Benhamou. She tells us why “like many geniuses, Picasso was a monster” and how his sexual appetite fuelled his creative impulses.

We also discuss Picasso’s family life, as illustrated through a series of portraits of his daughter Maya.

Plus we talk about how cancel culture might affect someone widely accepted as a totemic figure in modern art.