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Pablo Picasso, Carnaval (Carnival), 1967
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Signed Pablo Picasso, Linocut / Linoleum Cut, Carnaval (Carnival), 1967  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
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| Title: | Carnaval (Carnival), 1967 |
| Medium: | Original Color Linoleum Cut / Linocut on Arches Velin paper |
| Image Size: | 25 1/4 in x 21 (64.1 x 53.3 cm) |
| Framed Size: | 45 1/2 in x 40 1/2 in (115.57 cm x 102.87 cm) |
| Signed: | This work is hand signed by Pablo Picasso (1881 - 1973) in pencil in the lower right hand side of the work. |
| Edition: | Lettered 'H.C.' (hors commerce) in pencil in the lower left margin |
| Condition: | This work is in very good condition, a fine dark impression with full margins |
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Price
Item# 1915 |
$34,500
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| Historical Description: | |
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Joyous and playful in mood and design, this work illustrates the artist’s mastery of skill and technique in printmaking and with drawing as a whole. Using rich hues and lyrically gestural lines, Picasso gives the viewer a sense of the ease with which he creates his complex compositions. Created on January 28, 1967, this color linocut was printed and published by Arnéra, Vallauris on Arches velin paper. Lettered ‘H.C.’ in the lower left, this work is signed by Picasso in pencil in the lower right and in the plate with the date in the upper left. In contrast with his cubist aesthetic, this work features a vibrant, playful assortment of carnival characters dancing and laughing. Picasso uses a rich brown in the background and creates his characters in peach. The images in the frame almost seem to move around and draw the viewer in as one studies at the work. At first glance, the immense details are not immediately apparent to the viewer. Upon closer inspection, dancing figures holding hands emerge out of what once just seemed like flowing lines. Exaggerated dancers faces peer in from the bottom corners of the frame. The lines seem to almost vibrate and undulate, and yet each one purposefully describes and element of the scene. Catalogue Raisonné & COA: 1) Bloch, Georges, Pablo Picasso, Tome I, Catalogue de l’oeuvre grave et lithographié, 1904-1967, 1984, listed as cat no 1242 on pg 265. 2) Baer, Brigitte, Picasso Peintre-Graveur, Tome VI, Catalogue Raisonné de l’oeuvre grave et des monotypes, 1966-1968, listed as cat no 1852 on pg 590. 3) Lieberman, William S., Picasso Linoleum Cuts, 1985, listed as cat no 117 on pg 113. About the Framing: | |
| Style: | 20th Century Modern Art, Modern Artist, Cubism, Cubist |
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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 unique original works.
