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Posts Tagged ‘picasso prints’

Picasso: From Paris to San Francisco

Tuesday, July 26th, 2011

If you’re from Paris, walking the many galleries of the Picasso exhibition at the San Francisco de Young might be like going home again. If you’re from the Bay Area, “Picasso: Masterpieces from the Musée National Picasso, Paris” will transport you to the French capital. Either way, Picasso lovers attending the exhibition will feel that they are going to a long dinner with old friends. 150 paintings, drawings, sculptures and drawings from every phase of the artist’s richly varied career traveled from the Musée National Picasso for a foggy summer stay. Such a vast undertaking is all the more notable for its rarity – the  collection from the Musée National Picasso is only on loan during the completion of extensive renovations scheduled through 2012.

Organized chronologically and by period, the exhibition provides insight into the breadth of Picasso’s oeuvre. From the early Blue Period in Barcelona through the revolution that was Cubism, it moves into Neo-Classicism and Surrealism; bronze and “found” sculpture shares space with such later, exuberantly fragmented paintings as The Matador (1970), a self-portrait.

“I haven’t got a style,” Picasso asserts, and this exhibition denies any possibility that the artist might be limited in people’s minds to a single movement. A range of styles, each mastered in its own right, fills the rooms. Notable is the complete absence of wall text explaining the history or analyzing the significance of the works. Timoth Burgand, Curator in Charge of American Art for the Fine Arts Museums of San Francisco, explains that this lack of text allows for personal, direct interaction with the art. Instead of being bogged down with explanation, the works are free to speak for themselves.

That we learn something new about Picasso from this exhibition is no surprise. Visit the Museu Picasso in Barcelona and an astounding range of works on paper display the master artist’s talent in the graphic arts. View our collection of ceramics and understand yet another, perhaps lesser known, side of his work. Travel to the Museo Reina Sofia in Madrid – the monumental Guernica and its black and white vision of the bombing of that town during the Spanish civil war awaits. If you can’t stop by the de Young for a visit before October 9, you will find the artist’s works scattered around the globe, or you might bring a piece from our collection home to you.

A Philosophy on Originality in Prints

Wednesday, January 21st, 2009

Picasso Maternity
Answers to questions about original and/or unique prints are fairly subjective. There are various levels of originality within the field of printmaking, rendering a print’s classification to be complex; an equally complex explanation is necessary in order for our buyers to discern their tastes and objectives when collecting prints.

I will focus this discussion on the works by Pablo Picasso (1881 – 1973) as I consider him to be one of the most prolific and innovative printmakers of our time.

As mentioned earlier, there are many levels of originality in prints – the works created by Picasso are no exception. Picasso created many different forms of prints in varying mediums. Etchings, aquatints, linocuts, lithographs and ceramics were editioned under his direction and were made to his specifications. His physical involvement varied from work to work, but his creative input was never compromised. I consider any print authorized by Picasso (evidenced by his hand signature or his creation of the plates) to be an original work.

A few prints from the series titled the Barcelona Suite are featured at Masterworks Fine Art, Inc. (Harlequin and Mother & Child) published by the Museo Picasso in 1966. All works from this edition are offset lithographs, hand signed and authorized by Picasso as evidence of his approval for each print that was produced.

Another printer that Picasso worked with was Guy Spitzer who also helped produce offset lithographs featuring unique, hand-applied stencil coloring. I consider the prints by Spitzer to be quite nice – each have notations on the reverse of the sheet, stating their unique piece number and edition size; this is viewed as one of the earliest examples of official documentation for each Picasso print, similar to a certificate of authenticity.

Prints made in collaboration with printmaker Aldo Crommelynck are perhaps the most beautiful works ever created by Picasso (their inherent textural qualities and the depth of color is enhanced when viewed in person). In my opinion, the series by Crommelynck is better than the prints created from plates which Picasso made himself.

I think the major differences should be considered with the artist’s involvement with the printing process, and the level of originality of the process employed.


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