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Email to FriendSigné Pablo Picasso, Gravure sur Linoléum, Family Scene, 1962  |
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| Artiste: | Picasso, Pablo (1881 - 1973) |
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| Titre: | Family Scene, 1962 |
| Référence: | Baer 1337 |
| Moyen: | Gravure sur Linoléum |
| Taille d'image: | 15 1/2 in x 21 in ( 39.4 cmx 53.3 cm) |
| Taille de feuille: | 26 in x 20 in (66 cm x 50.8 cm) |
| Taille encadrée: | 38 in x 32 1/2 in (96.5 cm x 82.6 cm) |
| Signé: | Hand signed by Pablo Picasso (Malaga, 1881- Mougins, 1973) in pencil the lower right margin. |
| Edition: | This work is a proof aside from the edition of 50, printed on Arches ove paper with the inscription 'pour Yves' (Arnéra - the printer of the editions); published by Galerie Louise Leiris, Paris. |
| Condition: | This work is in excellent condition. |
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Prix spécial
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Article# 3048
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Conveying a sense of family and togetherness, this eye-catching piece is notable for its use of color contrast and sharp, jagged lines. Rather than using just one plate, Picasso utilizes two plates to create this striking print: the central plate depicting the family of four and the outer plate that frames it, further contributing to the private, portrait-style feel of the work. |
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| Description historique: | |
| Utilizing strong color contrasts and bold lines, Picasso (Malaga, 1881- Mougins,
1973) creates an intimate scene of familial gathering. Four figures, two male
and two female, huddle together at the center of the composition. Their forms
are conveyed through the heavy use of black, divided by sharp, white lines.
According to Brigitte Baer, this print was made from two plates: the central
plate depicting the family of four and the outer plate that frames it. This
use of a bordering plate contributes to the sense of family and togetherness
conveyed through the piece. The viewer feels as though he or she is glimpsing
in through a window or looking at a family snapshot. This piece also relays
a sense of texture through the use of jagged diagonal lines, particularly to
the right of the border, which give the illusion of fabric or a tapestry.
Created in 1962, this original color linocut is hand signed by Pablo Picasso (Malaga, 1881- Mougins, 1973) in pencil in the lower right margin. This work is a proof aside from the edition of 50, printed on Arches wove paper with the inscription 'pour Yves' (Arnéra - the printer of the editions); published by Galerie Louise Leiris, Paris.
About the Framing: | |
| Style: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris, Vollard |
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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.
