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Email to FriendPablo Picasso, Ceramic, Goat's Head in Profile, 1950  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
|---|---|
| Title: | Goat's Head in Profile, 1950 |
| Reference: | Ramié 112 |
| Medium: | Original round/square plate of white earthenware clay with decoration in engobes (black, green) under partial brushed glaze. |
| Image Size: | DIAMETER: 10 in (25.5 cm) |
| Framed Size: | 22 5/16 in x 22 5/16 in (56.7 cm x 56.7 cm) |
| Signed: | This work is stamped with the 'Madoura Plein Feu' and 'Empreinte Originale de Picasso' stamps on the underside of the plate. |
| Edition: | Hand-numbered in black glaze on the underside of the plate from the edition of 200. |
| Condition: | This work is in excellent condition |
| Gallery Price: Item# 2907 | Sorry, this item is sold. Please visit the rest of our Picasso fine art collection |
| Historical Description: | |
|---|---|
| Utilizing clean-cut lines and strong color contrasts, Picasso depicts the profile
of a goat. Picasso utilizes crisp, white lines to delineate the profile of the
goat's head and to add a sense of texture to the piece, conveying the feel of
the goat's fur and horns. These white lines contrast sharply against the dark
brown background, causing the image of the goat to stand out to the viewer.
The goat appears as a delicate figure with a thin neck and elongated face, contently
chomping on blades of grass. The goat is a re-occurring subject in Picasso's
works. While discussing Picasso's tendencies toward thematic subjects Georges
Ramie states that "there was above all, a very extensive thematic development
of bucolic variations: Virgilian countrysides, mythological scenes amid rocks,
evocations of Parnassus, piping shepherds and capering goats…A whole episode,
in short, devoted to the pastoral serenity of the Aegean, to the incomparable
simplicity of a carefree world, steeped in legends of Attic grace and full of
the joy of life" (p.168).
Created in 1950, this round/square plate was created with white earthenware clay with decoration in engobes (black,green) under partial brushed glaze. From an edition of 200, this work is stamped 'Edition Picasso' and 'Empreinte Originale de Picasso' on the reverse side of the work. Documented and Illustrated in: About the Framing: | |
| Style: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris, Vollard |
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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.
