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Email to FriendFirmado Pablo Picasso, Cerámica, Yan Pitcher, 1952  |
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| Artista: | Picasso, Pablo (1881 - 1973) |
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| Título: | Yan Pitcher, 1952 |
| Referencia: | Ramié 140 |
| Medio: | Cerámica |
| Dimensiones del Ilustración: | MAX HEIGHT: 10 1/2 in (26.7 cm) |
| Dimensiones del Papel: | MAX WIDTH: 5 in (12.7 cm) |
| Firmado: | Inscribed stamps on the underside of the pitcher, 'MADOURA PLEIN FEU' and 'EDITION PICASSO' |
| Edición: | Handwritten inscription in black on the underside of the pitcher, 'EDITION | PICASSO'; out of the total edition of 400 |
| Condición: | Good condition |
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Precio especial
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Artículo# 2496
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With its bold black lines and striking chestnut coloration, this charming yan pitcher instantly captures our eye. This piece is filled with subtle details, such as the tip of white on the bird's beak and the white tuft on its chest. Furthermore, the shape of the bird naturally mimics the shape of the pitcher with its beak at the spout and its wings resting at its sides. |
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| Descripción Histórica: | |
| Evoking some subtle Asian characteristics, this Yan Pitcher is gloriously decorated in some striking, bold design throughout its matte surface. The opening and upper rim of the work is particularly detailed, with a pinched spout that seems to echo the decorative mouth that Picasso has created. Highlighting the natural, deep red earthenware clay coloration is a brilliant white area that highlights what seems to be the breast of a birdlike subject. The equally decorative handle has alternating black and red stripes, alluding to a somewhat optical and abstract element to this classic Yan pitcher. Created in 1952, this original turned pitcher is hand crafted of red earthenware clay with decoration in engobes (black and white). With inscribed stamps on the underside of the pitcher, 'MADOURA PLEIN FEU' and 'EDITION PICASSO'; handwritten inscription in black on the underside of the pitcher, 'EDITION | PICASSO'. Out of the total edition of 400 works produced. Illustrated in: | |
| Estilo: | Modern Master, Madoura, Ceramic |
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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.
