Pablo Picasso, Jacqueline au chevalet (Jacqueline at the Easel), verso: Faunes aux visages carrés, 1956
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Email to FriendFirmado Pablo Picasso, Cerámica, Jacqueline au chevalet (Jacqueline at the Easel), verso: Faunes aux visages carrés, 1956  |
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| Artista: | Picasso, Pablo (1881 - 1973) |
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| Título: | Jacqueline au chevalet (Jacqueline at the Easel), verso: Faunes aux visages carrés, 1956 |
| Referencia: | A. Ramié 335, G. Ramié 421, Bloch 107 |
| Medio: | Cerámica |
| Dimensiones del Ilustración: | DIAMETER: 16.5 in (42 cm) |
| Dimensiones del Marco: | Approx. 27 in x 27 in (68.6 cm x 68.6 cm) |
| Firmado: | Bearing publisher's stamps on verso: 'EMPREINTE ORIGINALE DE PICASSO' and 'MADOURA PLEIN FEU'. |
| Edición: | One of 100 numbered copies created as a limited edition. |
| Condición: | This work is in excellent condition |
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Precio especial
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Artículo# 3751
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One of several unglazed dishes produced at the artist's residence above Cannes, this piece puts the model in the position of the artist; one of Picasso's great muses, Jacqueline stands at the easel. |
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| Descripción Histórica: | |
| After spending the month of May 1956 at the artist's villa - La Californie -
in the Riviera, Douglas Cooper was uniquely suited to comment on his ceramic
production. After engraving a line drawing on a plaster mould, Picasso deepened
the image with a gouge, occasionally modeling forms in volume on the surface
as well. "In other words," Cooper noted, "this mould served as
an intermediary element for reproduction, exactly as the copper plate does for
the etcher" (Picasso and ceramics, 67). Exhibited in Paris, Cannes, Lyon
and Céret between 1956-58, these works were clearly popular.
Jacqueline at the Easel shows the artist's second wife, Jacqueline Roque, in a reversal of roles. By depicting her at the easel instead of in front of it, Picasso foregrounds Jacqueline's role as a great muse for his art. Out of all his lovers, Jacqueline may have had the greatest impact on the artist and his work, figuring prominently in countless works dating to the last two decades of his life. Created in 1956, this original round dish of white earthenware clay features an additional scene of fauns with square faces on the verso; this second image was applied with ivory, green and black engobes and then glazed. Numbered from the edition of 100, this work bears two publisher's stamps on the verso: "'EMPREINTE ORIGINALE DE PICASSO' and 'MADOURA PLEIN FEU'.
ABOUT THE FRAMING: This work is framed to museum-grade, conservation standards in a complementary moulding with silk-wrapped mats. | |
| Estilo: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris, Vollard, Picasso plate |
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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.
