Print Page
Email to FriendSigné Pablo Picasso, Lithographie, Nue Au Faubourg St. Honoré, 1970  |
Placer votre curseur ci-contre pour agrandir l'image:
Cliquez sur chaque pièce pour voir comment l'œuvre d'art serait potentiellement regarder:
| Artiste: | Picasso, Pablo (1881 - 1973) |
|---|---|
| Titre: | Nue Au Faubourg St. Honoré, 1970 |
| Référence: | Czwiklitzer 357 |
| Moyen: | Lithographie |
| Taille d'image: | 61 1/2 in x 46 in (156 cm x 117 cm) |
| Taille de feuille: | 61 1/2 in x 46 in (156 cm x 117 cm) |
| Taille encadrée: | 74 in x 62 in (188 cm x 157.5 cm) |
| Signé: | Hand signed by Pablo Picasso (Malaga, 1881- Mougins, 1973) in red crayon in the upper right. |
| Edition: | Numbered 27/100 (from the edition of 100) in red crayon in the upperright; annotated '17.7.70 I' in black in the stone in the upper right. |
| Condition: | This work is in excellent condition, a bright fresh impression. |
| Prix: Article# 3453 | Vendu |
| Description historique: | |
|---|---|
Two independent entities, a painter and his beautiful model, merge seamlessly and gracefully together in this abstract figurative work. Outlined in thick, red lines, these two figures stand out against the shiny gold background. This work, monumental in size, instantly commands the attention of the viewer. Its glossy finish adds an element of natural lighting to the piece, further drawing the viewer in. Perfectly exemplifying Picasso's ability to abstract the human form, this work leaves the viewer questioning the components of the two central figures. While the viewer can gather that the painter, depicted in profile, holds a brush to a canvas with a sleeping nude behind him, the figures' limbs and faces appear elegantly distorted. The painter's hand cuts diagonally between the models breasts, while the model's large feet stick out from behind the painter, whose elongated face features a large nose and eye with a small mouth and vibrant blue hair. The entire work, though abstracted, relays a sense of balance and harmony, displaying Picasso's immense skill as an artist. Created in 1970, this original color offset lithograph is hand signed by Pablo Picasso (Malaga, 1881- Mougins, 1973) in red crayon in the upper right and numbered 27/100 (from the edition of 100) in red crayon in the upper right; also annotated '17.7.70 I' in black in the stone in the upper right.
1. Czwiklitzer, Christoph von. Pablo Picasso Plakate 1923-1973. Munchen: Deutscher TAschenbuch Verlag, 1981. Listed as catalogue no. 357.
| |
| Style: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris, Vollard |
About Us: Masterworks Fine Art efforce s'être la meilleure source de bien art pour nos clients et nos collecteurs partout dans le monde. Nous croyons la façon la plus directe pour accomplir ceci est en établant une vie de relations personnelles et professionnelles avec nos clients. Plus de Nous »
![Picasso, Nature morte au crâne (Still Life with Skull), 1914 [G.36; Bl.26]](/inventory/picasso/prev_picasso2385.jpg)
Do you own a similar Picasso to sell? We offer free evaluations.
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.
