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Picasso, Pablo, Mère et enfant au fichu (Mother And Child With Shawl) from the "Barcelona Suite" (1966)

"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 g… [Read biography »]

Signed Pablo Picasso (1881 - 1973), Original Color Lithograph, Mère et enfant au fichu (Mother And Child With Shawl) from the "Barcelona Suite" (1966)

$Picasso Lithograph signed, Mère et enfant au fichu (Mother And Child With Shawl) from the \$

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Description:
Artist:	Picasso, Pablo (1881 - 1973)
Title:	Mère et enfant au fichu (Mother And Child With Shawl) from the "Barcelona Suite" (1966)
Medium:	Original Color Lithograph
Image Size:	18 in x 16 in (45.7 x 40.6 cm)
Sheet Size:	25 1/4 in x 21 1/2 in (64.1 x 54.6)
Framed Size:	38 in x 35 1/4 in (96.52 cm x 89.54 cm)
Signed:	This work is signed by Picasso in pencil in the lower right hand side.
Edition:	Numbered 12/60 in pencil in the lower left margin with the publisher's blindstamp in the lower left of the image (from the 'avant la lettre' editon of only 60).
Condition:	This work is in pristine condition offering a strong clear impression.
Price: Item# 1697	$SOLD Please visit the rest of our Picasso fine art collection
This is one of the only bonified and documented prints of the poignant blue period painting titled "Mother and Child with Shawl." This wonderful work is one of only a handful of blue period works that Picasso authorized to be printed during his lifetime. Published in 1966 by the Museu Picasso in Barcelona and printed by Foto-Repro of Barcelona, this work is from the 'avant la lettre' edition. (Another 20,000 copies created for the Picasso Museum in Barcelona exist with the exhibition lettering printed across the image.) Printed on Arches wove watermarked paper, from the edition of 60 and with the publisher's blindstamp appears in the lower left side of the image. Signed by Picasso in pencil in the lower right. A piece that is one of the best examples of Picasso's ability to extract emotion from even the most reserved viewer. Using a predominance of blue that expresses the distress and sorrow of the subjects, Picasso transforms the viewing experience from one of passive speculation, to passionate suffering on behalf of the subjects. As our empathy for the two helpless subjects takes over we realized that such strong emotion has been elicited by the dominant blue color. Viewers can note, it is not only the color blue, which indeed dominates the print, but it is how Picasso handles the blue, and uses it to depict eyes that express a lifetime of pain, lips that wither as the days pass without any food, and the single weathered hand that clutches the child as if it is grasping not only the infant but a last shred of hope. Picasso's famous channeling of emotion into the canvas during his "Blue Period" is perhaps a reflection of his times, where an intellectual reevaluation of life coupled with a dreary perception of existence created some of the greatest and most powerful artwork of the twentieth century. A contemporary of Baudelaire and Rimbaud, who used their pain to drive their art, Picasso was also one of the first artists to meld pain and suffering and artistic mastery to create works that were both sincere and troubling. Catalogue Raisonné & COA: It is fully documented and referenced in (copies will be enclosed as added documentation with the invoices that I will enclose with the sale of the work) : 1) Czwiklitzer, Christopher, Picasso's Posters, Random House, 1970. Listed as plate 231 on page 341. 2) Rodrigo Luis Carlos, Picasso in his Posters, Arte Ediciones, Volume I, 1992. Listed on page 326 as plate 149. 3) Rodrigo Luis Carlos, Picasso in his Posters, Arte Ediciones, Volume III, 1992. Listed on page 1496 as plate 149. About the Framing: Conservation framed with museum quality archival materials. This work is set in a robust Spanish style black and gold leaf frame. The brilliant gold tone of the sculpted moulding in tandem with the smooth black inner banding accentuates and compliments the loose quality of the image and deep contrasting tones in this work. Completed with white linen wrapped mattes, and a matching gold inner fillet, this work is set behind an archival Plexiglas cover.
Style:	cubism 20th century modern art blue period

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Biography of Pablo Picasso

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 a unique original work since many of his prints are so amazing.