Pablo Picasso, Toros en Vallauris, 1954
|Artist:||Picasso, Pablo (1881 - 1973)|
|Title:||Toros en Vallauris, 1954|
Original Black & White Linocut
|Image Size:||31 1/4 in x 28 3/4 in (79.4 cm x 73 cm)|
|Sheet Size:||37 5/8 in x 29 7/8 in (95.6 cm x 75.9 cm)|
|Framed Size:||48 3/4 in x 46 1/4 in (123.8 cm x 117.5 cm)|
|Signed:||Hand signed by Pablo Picasso (1881 - 1973) in red pencil in the lower right|
|Edition:||Out of the unnumbered edition of 100 on Arches vellum paper|
|Condition:||This work is in excellent condition|
|Gallery Price: |
|SOLD. Please visit the rest of our Picasso fine art collection|
|Historical Description of This Work:|
Considered by Luis Carlos Rodrigo as a “masterpiece,” Toros en Vallauris, 1954 was to be one of his first linocuts in which Picasso perfected and reined his printmaking techniques and aesthetic.
Created in 1954, this linocut was printed out of the edition of 100 signed in red pencil in the lower right by the artist. This is classified by Rodrigo as an original poster published by the Vallauris Potter’s Association and printed by Imprimerie Arnera, Vallauris.
This stunning linocut portrays a lively arena with an eager and excited audience watching the action in the center. Here, we see a majestic picador atop his horse and both with the matador, try to tame and control the bull. According to Rodrigo:
“Picasso portrays in black and white (sun and shade) a bullring packed with an excited crowd witnessing the picador’s performance during the bullfight. Amongst the aficionados is Jacqueline Roque, the lover who was to become his wife in 1961, wearing a back comb and ornamental shawl in the Spanish style. She is looking askance at two spectators not appearing on the poster, you the viewer, and Picasso, also important protagonists, with a mischievous smile” (1645).
The surface quality of the linocut is exquisite, as the black has retained subtle a glossy sheen and is highlighted slightly as light reflects off the print and plays with the bold strokes of white which composes the Vallauris scene - surely a fine addition to any Picasso collection.
Catalogue Raisonné & COA:
1. Baer, Brigitte, Picasso Peintre-Graveur, Tome IV, 1986, listed as cat no 1027 on pg 366.
2. Bloch, Georges, Pablo Picasso, Tome I, Catalogue de l’oeuvre grave et lithographié, 1904-1967, 1984, listed and illustrated as cat no 1264 on pgs 271-2.
3. Czwiklitzer, Christopher, Picasso’s Posters, 1971, listed as cat no 13 with details on pg 365.
4. Foster, Joseph K., The Posters of Picasso, 1964, listed as plate 23.
5. Mourlot, Fernand, Art in Posters, 1959, listed as cat no 71 with details on pg 245.
6. Rodrigo, Luis Carlos, Picasso in His Posters, Vol I, 1992, listed as cat no 028 on pg. 84.
7. Rodrigo, Luis Carlos, Picasso in His Posters, Vol III, 1992, listed as cat no 028 on pg 1,645.
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|Style:||20th Century Modern Art, Modern Artist, Cubism, Cubist|
Pablo Picasso Biography
"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.
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