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Pablo Picasso, Diaulos Player and Faun, 1956
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Signed Pablo Picasso, Ceramic, Diaulos Player and Faun, 1956  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
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| Title: | Diaulos Player and Faun, 1956 |
| Reference: | AR. 342; Bl. 119 |
| Medium: | Round/square ceramic of white, earthenware clay or terre de faïence |
| Image Size: | 12 in (30.5 cm) |
| Framed Size: | approx. 28.5 in x 28.5 in (72.4 cm x 72.4 cm) |
| Signed: | Inscribed with the stamps on the reverse, ‘Madoura plein feu’ and ‘Empreinte Originale de Picasso’ with handwritten archive number inscription, ‘R= B101’ |
| Edition: | Rare, from the total edition of 100 |
| Condition: | In good condition |
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Price
Item# 2466 |
$18,000
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| Historical Description: | |
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This joyful and elegant ceramic plate is basked in a glow of sheer white; delicately handcrafted from white, earthenware clay, this Diaulos Player and Faun is composed from subtle relief on the surface of the work. When viewed under raking light, the shadows cast from the textured and uneven surface allow for a greater depth and liveliness to the work. There is enormous amounts of detail upon closer inspection as each leaf and branch is portrayed with simple ticks and marks in the clay. The surface of the chair, the elaborate gesture and dancing pose of the faun, and animated quality of the Diaulos player is astounding. Considered one of the best examples of Picasso’s intrigue and innovation with his ceramics, this work in particular is able to change and morph according to the time of day and position of light, engaging the viewer on a completely different level. This piece is from a rare, edition of only 100 works; one of the few examples we’ve seen come up on the market in a long time. Georges Bloch stated of Picasso’s ceramic works, ‘…in approach, material and technique is as novel as it is interesting. Pottery, gleaming white discs with relief designs, monochrome or brightly coloured ovals, dishes and even jugs and vases here serve as bearers of compositions whose themes express the joyous, life-loving side of Picasso’s work. They are printed from blocks and stamps fashioned by the master over a period of more than twenty years in the Madoura pottery workshop in Vallauris.” (Bloch 7) Created in 1956, this original round/square ceramic of white, earthenware clay has been classified by A. Ramié (1988) as ‘O.P.’, or an Original Print. Inscribed with the stamps on the reverse, ‘Madoura plein feu’ and ‘Empreinte Originale de Picasso’ with handwritten archive number inscription, ‘R= B101’; from the rare, total edition of 100.
2. Ramie, A. (1988) Picasso: Catalogue of the edited ceramic works, 1947 – 1971. Galerie Madoura: Vallauris. Listed and illustrated as catalogue raisonné no. 342 on pg. 175. About The Framing: | |
| Style: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris |
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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.
