Pablo Picasso (1881-1973)

Picasso is undeniably one of the most recognized and influential artists of the twentieth century. Picasso was an extremely prolific artist and mastered a wide range of art forms including drawing, painting, sculpture, ceramics, printmaking and even poetry and playwriting. He is perhaps best known for his paintings in his “Blue Period” and “Rose Period” style, and his later contribution to the development of Analytic Cubism, starting around 1909, and later developing into Synthetic Cubism (1912) where paper fragments were cut out and pasted onto paintings (collage).

Les Saltimbanques (the Acrobats) Etching and aquatint o

Placed against a flattened background, the two central figures appear as tenuous individuals with dramatic sunken eyes and far off gazes. The artist surrounds his figures with a sense of mystery placing them against a briefly described landscape comprised of a brick construction and grassy knolls. The younger figure stands with his arm behind his back, relaying a sense of discomfort and uncertainty. This younger figure pats the dog's head almost aimlessly, as if to gain a sense of reassurance in this time of incertitude. Though standing right next to each other, each saltimbanque appears lost in his old world. Their eyes do not on a particular object but strongly suggest that each is consumed in his own internal thought process, as if pondering his next move. The desolate background with a loosely delineated structure to the left further contributes to this feeling that the figures are isolated, both from society and perhaps from each other, suggesting that their companionship might be one based on necessity rather than true camaraderie.

Engraved in 1922 by Jacques Villon after an original oil on canvas made in 1905 by Pablo Picasso; hand signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right margin with signature and date in the plate in the lower right, 'Picasso 1905'. Numbered in pencil in the lower left margin from the total edition of 200 published by Bernheim-Jeune, Paris

The Picasso Harlequin is a wonderful early work. It is bold and eye catching; this striking work highlights Picasso's innovative use of color and expressive lines and brush strokes.

Study for Les Saltimbanques Les deux Saltimbanques l’Arlequin 1901 Classical Scene c 1934

Picasso Blue Period

La Soupe 1902-4

La Vie 1903 The Tragedy 1903

Picasso Rose Period

Young Man carrying a Child pochoir after a painting 1930 o Boy leading a horse 1905

Family of Saltimbanques 1905 Les Baladins 1904-5 Acrobate a la Boule 1905 Maternity 1905

Garcon a la pipe 1905 Les deux Freres 1905-6 pochoir 1930

Pablo Picasso lithograph Carnet Californie 1959 o Broken Lance 1962 o

Executed as a sketchbook drawing during the middle 1950's and subsequently made available by Picasso for publication as a lithograph. This impression was printed in Paris in 1959 by Mourlot Freres, and issued in a sketchbook-style portfolio entitled "Carnet de la Californie", published by Editions Cercle d'Art. The total sheet measures 10 1/4 x 16 1/2 inches (260 x 420mm). Not signed. These lithographs are now quite scarce.

linocut Female Head o Portrait of Dora Mar Tete de Femme au chignon

Picasso started making linoleum cuts during the late 1950's and the originals were issued by Gallerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

Six contes fantastiques le bois denfer 1953 Dove of Peace 1962

Le Gout de Bonheur 1970 o "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 8 1/2 x 5 1/2 inches. Not signed. According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used".

Bachanale 1959

Series 156:135 Circus Scene artist with model 1971

le Picador 2 1961 o

This is Picasso's most colorful lithograph, printed in 24 colors, based on a crayon drawing he created (along with three others) March 6, 1961, only four days after he married Jacqueline at Vallauris. He completed the drawing on April 21, 1961 and both dates are in the lithograph.. When Picasso originally created the four illustrations for the book they were in a single color, black. Picasso's lithographer, Fernand Mourlot, suggested he "put a little color into these plates". Picasso then crayoned what is shown here using each of the 24 colors in the 24-color box of crayons from which he created the drawing! “When I visited him at Vauvenargues, on April 21st, I gave to Picasso the four lithos of his work; at the Publisher’s request, I asked our friend, without much hope, if he would agree to put some colours on the plates. The black eyes glanced at me and he said: “Now then! You want some colour, Mourlot . . .” suspense. “Jacqueline, show them up to the house . . .” My wife accompanied me and we then followed our hostess. The monumental staircase leads us to the rooms, here is the bath-room, immense, with a large green painted garden bench, a table and iron chairs; around the washstands a large decoration of leaves and flowers painted on the wall by the master of the house. We continue the visit and finally come back to the studio, where we are invited to come in. “You wanted some colour . . . here it is!” The picador has been decorated with quite a lot of wax pencils. I take a look at the pencil box: twenty-four colors, all have been utilized . . . Back at the printing works, it has been necessary to make a tracing of each colour spot and take the exact tint before transferring this drawing to the stone; it is possible, although difficult, to obtain a good result with these waxen colours substituted for the lithographic crayon. We have succeeded and have thus obtained this lithograph in twenty-four colours, plus the black. I believe that this time, it was our good friend Picasso who was somewhat astonished.” -Fernand Mourlot (Picasso’s lithographer)