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Email to FriendFirmado Pablo Picasso, Cerámica Escultura Madoura, Centaur, 1950  |
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| Artista: | Picasso, Pablo (1881 - 1973) |
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| Título: | Centaur, 1950 |
| Referencia: | Ramié 102 |
| Medio: | Cerámica Escultura Madoura |
| Dimensiones del Ilustración: | Diameter: 15 in (38.1 cm) |
| Dimensiones del Papel: | Diameter: 15 in (38.1 cm) |
| Dimensiones del Marco: | 28 in x 28 in (71.12 cm x 71.12 cm) |
| Firmado: | Features the inscribed stamps: 'Empreinte Originale de Picasso' and 'Madoura Plein Feu' on the reverse |
| Edición: | Inscribed on the verso: 'N. 108 | Edition | Picasso | Exemplaire | Editeur,' aside from the total edition of 250 |
| Condición: | A large, beautiful work that maintains rich color throughout; in great condition |
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Precio especial
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Artículo# 1715
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Exemplifying his fascination with mystical creatures, Picasso here depicts one of his favorite subjects: a centaur. He uses minimal detail to convey this fantastical creature, conveying his subject through clean cut lines and surrounding him in a decorative border with hints of white. |
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| Descripción Histórica: | |
This simplistic and rustic design echoes an iconic figure from classical antiquity. The centaur is a mythical creature from Greek history that features throughout Picasso's œuvre of ceramic works. Here, he is depicted in full form, holding both shield and spear and ready for action. Its minimal lines make way for expressive movement, catching the centaur on the verge of action. Alternated colors of blocks of white contrast nicely with the natural reds inherent to the earthenware clay from which this is cast. Created in 1950, this round, earthenware clay dish in red, features white engobe decoration with boring-rod, engraved detail. This Picasso plate is inscribed on the verso: 'N. 108 | Edition | Picasso | Exemplaire | Editeur,' aside from the total edition of 250. Also features inscribed stamps on the verso: 'Empreinte Originale de Picasso' and 'Madoura Plein Feu.' Catalogue Raisonné & COA: 1. Ramié, Alain. Picasso Catalogue of the edited ceramic works 1947-1971, Madoura, 1988. Listed and illustrated as catalogue raisonné no. 102 on pg. 58. About the Framing: | |
| Estilo: | cubism 20th century modern art , Picasso plate sculpture |
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Pablo Picasso biografía
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.
