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Email to FriendFirmado Pablo Picasso, Corte de Linóleo, Toros en Vallauris (Bulls in Vallauris), 1957  |
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| Artista: | Picasso, Pablo (1881 - 1973) |
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| Título: | Toros en Vallauris (Bulls in Vallauris), 1957 |
| Referencia: | Ba. 1045, B. 1276, CZW 23 |
| Medio: | Corte de Linóleo |
| Dimensiones del Ilustración: | 25 1/4 in x 21 1/8 in (64 cm x 53.5 cm) |
| Dimensiones del Papel: | 33 7/8 in x 25 5/8 in (86 x 65 cm) |
| Dimensiones del Marco: | Approx. 45 in x 37 in (114.3 cm x 94 cm) |
| Firmado: | Hand signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in blue crayon in the lower right margin. |
| Edición: | Numbered 55/198 in the lower left margin. |
| Condición: | This work is in excellent condition with rich color. |
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Precio especial
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Artículo# 3695
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In this pure and simple graphic work, Picasso highlights the flatness of the linoleum and of the page. With just a gouging tool and a single color, he renders the bullfight in a highly stylized manner reminiscent of early cave paintings. |
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| Descripción Histórica: | |
| The bullfight figured prominently in Pablo Picasso's life; the energy and pageantry
probably kept the artist coming back. Upon attending an event, he once remarked
to a friend, "It's so rare to find an art that is so intelligent about
itself" (Richardson, 242). With typical precision, he crafts a clean, elegant
image worthy of the sport.
The stick-thin figures and distilled gestures and forms of Toros en Vallauris (Bull in Vallauris) evoke early cave paintings and even children's drawings. Bent forward with concentration on his horse, the picador, or bullfighter, thrusts his vara, or lance, into the bull behind a mound of muscle known as the morrillo. This marks the bull's first wound in the highly ritualized event. Far from being over, the drama has just begun. Created in 1957, this original Picasso color linocut is numbered 55/198 in the lower left margin, and hand-signed by the artist in the lower right. Aside from the limited edition of 198, there exist a few signed and unsigned proofs, as well as twenty signed artist's proofs, all printed on vellum. The Arnéra studio in Vallauris did all printing for this edition.
ABOUT THE FRAMING: | |
| 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.
