Pablo Picasso, Nature morte à l'aubergine (Still Life with Eggplant), c. 1946
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Email to FriendFirmado Pablo Picasso, Litografía, Nature morte à l'aubergine (Still Life with Eggplant), c. 1946  |
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| Artista: | Picasso, Pablo (1881 - 1973), After |
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| Título: | Nature morte à l'aubergine (Still Life with Eggplant), c. 1946 |
| Referencia: | Czwiklitzer 85 |
| Medio: | Litografía |
| Dimensiones del Ilustración: | 18 7/8 in x 14 1/2 in (37 cm x 48 cm) |
| Dimensiones del Papel: | 28 7/8 in x 21 1/16 in (73.2 cm x 53.5 cm) |
| Dimensiones del Marco: | 39 3/4 in x 38 3/4 in (101 cm x 98.4 cm) |
| Firmado: | Hand signed by Pablo Picasso (1881 - 1973) in pencil in the lower right margin; signed in the stone in green in the upper right. |
| Edición: | Numbered 37 from the edition of 100 in pencil in the lower left margin |
| Condición: | This work is in excellent condition, with bold colors. |
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Precio especial
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Artículo# 2901
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Relaying a sense of calm and quiet, this piece perfectly combines Picasso's defined geometric forms with soft, swirling strokes. Picasso utilizes a somewhat unconventional color palette of cool periwinkle blues and pastel oranges and greens, differentiating this beautiful still life from his other works and making it a prized addition to any collection. |
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| Descripción Histórica: | |
| Placing ripe, vibrantly colored fruit against a background of interlocking triangles,
Picasso utilizes cool tones of blues, creams, and blacks to create an abstract
still life. Three pieces of fruit rest upon a triangular table. This table mimics
the triangular pattern of the background and adds a sense of depth and perspective
to the work, jutting out to create the surface upon which the pieces of fruit
rest. The largest fruit at the center appears as the eggplant, depicted in tones
of blue, grey and black. Flanking either side of the eggplant are circular fruits
that resemble melons, while at the back of the table a clear vase balances precariously
near the edge of the table. This piece conveys the texture of paint, clearly
depicting Picasso's soft, swirling strokes, and the entire piece relays a sense
of calm and quiet.
Created c. 1946, this original color lithograph is hand-signed by Pablo Picasso (1881-1973) in pencil in the lower right margin and numbered from the edition of 100 in pencil in the lower left margin. This work is also signed in the stone in green in the upper right. Documented and Illustrated in:
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| Estilo: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris, Vollard |
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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.
