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Email to FriendSigné Pablo Picasso, Céramique, Bearded Yan, 1963  |
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| Artiste: | Picasso, Pablo (1881 - 1973) |
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| Titre: | Bearded Yan, 1963 |
| Référence: | Ramié 513 |
| Moyen: | Céramique |
| Taille d'image: | 9.8 in (25 cm) x 5.1 in (13 cm) |
| Signé: | Inscribed stamps on the underside of the pitcher with inscription. |
| Edition: | Hand numbered (inscribed) 44/300 on the underside of the pitcher. |
| Condition: | This work is in great condition with articulated detail and pronounced textural quality throughout. |
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Prix spécial
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Article# 2342
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Inspired by Greek mythology, Picasso here creates the visage of a faun on the face of an elegant pitcher. The faun appears somewhat mysterious with his whimsical curls and flushed cheeks, translated not with color but with the manipulation of clay with the edge of a knife, providing a sense of texture rather than color to convey facial features. |
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| Description historique: | |
Drawing inspiration from Greek mythology, Picasso recreates the visage of a yan, or faun on the face of this pitcher. The expressive curls of his beard and mane accent his furrowed brow and mysterious grin. The most intriguing feature are his flushed cheeks, translated not with color, but with the manipulation of the clay with the edge of a knife – first with three distinct tick marks on either side and a slight scraping to distort the color and grain of the clay; this is a fascinating and innovative detail to the overall composition. Georges Bloch stated of Picasso’s ceramic works, ‘…in approach, material and technique is as novel as it is interesting. Pottery, gleaming white discs with relief designs, monochrome or brightly coloured ovals, dishes and even jugs and vases here serve as bearers of compositions whose themes express the joyous, life-loving side of Picasso’s work. They are printed from blocks and stamps fashioned by the master over a period of more than twenty years in the Madoura pottery workshop in Vallauris.” (Bloch 7) Created on August 30, 1963, this turned pitcher is made of red earthenware clay with black engobe decoration engraved by a knife. The underside has been inscribed and stamped with ‘Madoura Plein Feu’ and ‘Edition Picasso’; with handwritten inscriptions, ‘Edition Picasso | 44/300 | Madoura’ (out of a total edition of 300 numbered works). Illustrated in:
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| Style: | Modern Master, Ceramic, Madoura, Sculpture |
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La biographie de Pablo Picasso
Pablo Picasso (1881 - 1973)
"Yet Cubism and Modern art weren't either scientific or intellectual; they were visual and came from the eye and mind of one of the greatest geniuses in art history. Pablo Picasso, born in Spain, was a child prodigy who was recognized as such by his art-teacher father, who ably led him along. The small Museo de Picasso in Barcelona is devoted primarily to his early works, which include strikingly realistic renderings of casts of ancient sculpture.
"He was a rebel from the start and, as a teenager, began to frequent the Barcelona cafes where intellectuals gathered. He soon went to Paris, the capital of art, and soaked up the works of Manet, Gustave Courbet, and Toulouse-Lautrec, whose sketchy style impressed him greatly. Then it was back to Spain, a return to France, and again back to Spain - all in the years 1899 to 1904.
"Before he struck upon Cubism, Picasso went through a prodigious number of styles - realism, caricature, the Blue Period, and the Rose Period. The Blue Period dates from 1901 to 1904 and is characterized by a predominantly blue palette and subjects focusing on outcasts, beggars, and prostitutes. This was when he also produced his first sculptures. The most poignant work of the style is in Cleveland's Museum of Art, La Vie (1903), which was created in memory of a great childhood friend, the Spanish poet Casagemas, who had committed suicide. The painting started as a self-portrait, but Picasso's features became those of his lost friend. The composition is stilted, the space compressed, the gestures stiff, and the tones predominantly blue. Another outstanding Blue Period work, of 1903, is in the Metropolitan, The Blind Man's Meal. Yet another example, perhaps the most lyrical and mysterious ever, is in the Toledo Museum of Art, the haunting Woman with a Crow (1903).
"The Rose Period began around 1904 when Picasso's palette brightened, the paintings dominated by pinks and beiges, light blues, and roses. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. One of the premier works of this period is in Washington, D.C., the National Gallery's large and extremely beautiful Family of Saltimbanques dating to 1905, which portrays a group of circus workers who appear alienated and incapable of communicating with each other, set in a one-dimensional space.
"In 1905, Picasso went briefly to Holland, and on his return to Paris, his works took on a classical aura with large male and fernale figures seen frontally or in distinct profile, almost like early Greek art. One of the best of these of 1906 is in the Albright-Knox Gallery in Buffalo, NY, La Toilette. Several pieces in this new style were purchased by Gertrude (the art patron and writer) and her brother, Leo Stein.
Picasso enjoyed creating his art on many media. From paintings to etchings to ceramics, all of his works are a testament to his skills. There are even Picasso prints that are worth more than unique original works.
