Picasso did not consider the art that inspired him, which moved his creative mind in an unstoppable desire to open new paths, as 'primitive', he did not see a 'before' and an 'after' in art, there was no “other”, “different” art: Picasso conceived it as a timeless Whole. “There is neither past nor future in art. – he loved to underline – If a work of art cannot always live in the present, it has no meaning”. Pablo Picasso always showed a profound respect for the artistic manifestations of other cultures and other times and was able, more than any artist of his generation, to understand and reinvent them with the noble aim of giving an impulse and a new path of exploration to universal art .

MUDEC offers the public to read Picasso's very rich production - from his early works to his later ones - in the light of his love for 'primitive' artistic sources, for 'primitive art', and recounts this constant intellectual re-elaboration and The artistic legacy of his vision through a large exhibition project, specifically designed to be hosted in the heart of the Museum, which recounts the cultures of the world and their mutual and constant influence. In fact, it is important to make the public aware of how Picasso grasped the essence and meaning of other artistic sources and assimilated them in his production throughout his life, from 1906 - a fundamental year for his production - until his last works of the 1960s. . With the return to "primitivism", around 1925, the artist draws the tools of plastic language from African examples, but also from Neolithic and proto-Iberian examples (of pre-Roman Spain), takes inspiration from Oceanic art, from ancient art Egyptian and that of classical Greece (black-figure vases). Picasso invents transpositions, reshapes figures with disproportionate volumes , in a constant METAMORPHOSIS of the figures which often have a strong erotic connotation, and which will govern the evolution of his painting and sculpture, especially in moments of personal or social crisis.