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Email to FriendSigned Pablo Picasso, Collotype, Le Peintre (The Painter), 1963  |
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| Artist: | Picasso, Pablo (1881 - 1973), After |
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| Title: | Le Peintre (The Painter), 1963 |
| Medium: | Original Collotype with Pochoir on Arches wove paper |
| Image Size: | 29 1/4 in x 23 in (74.3 cm x 58.4 cm) |
| Sheet Size: | 38 1/2 in x 29 5/16 in (97.8 cm x 74.4 cm) |
| Framed Size: | 50 1/4 in x 42 3/4 in (127.6 cm x 108.6 cm) |
| Signed: | Hand signed by Pablo Picasso (1881 - 1973) in pencil in the lower right. |
| Edition: | Numbered 350/350 in pencil in the lower left margin |
| Condition: | This large scale work is in pristine condition with intricate details and saturated color |
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Super Price
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Item# 3249
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This marvelously large work is executed in a unique painterly style with fine attention to detail and artistic stylization. This beautiful piece contains many elements typical of Picasso's style: the abstracted profile/ frontal face, the use of cool blue hues, and the subject of artist at work. |
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| Historical Description: | |
Picasso’s Le Peintre is a marvelously large work executed in a unique painterly style, with fine attention to detail, and artistic stylization that mimics a monotype print. Created using hand applied Pochoir coloring, this is a unique and exciting technique in printmaking that closely resembles painted watercolors. The pochoir technique is applied to the finished print, thereby intensifying color and making each print unique. The pochoir in this print can be found along the shadow of the painter’s head, canvas, and arm. Created in 1963, this work was published by Guy Spitzer and contains his publisher’s embossed blindstamp in the lower left side of the image. Printed on Arches wove watermarked paper, there is a guaranteed authentic signature by Picasso in blue crayon in the lower right hand side of the work. The plate has also been signed by Picasso in the lower left. Stamp on verso reads, ‘Pablo Picasso Le Peintre Tirage Signé par l’artiste numeroté et limité a 350 exemplaires cette épreuve port le No 350.’ Composed entirely in a cool palate of blues, greens, and browns, this work features a male artist intently working on his canvas. The implied hurried brushstrokes in the piece, particularly in the artist’s arm, create a “snapshot” like image—the artist captured in a moment of artist inspiration. This work is further rarified because it has been documented by the Alan Wofsy Picasso Project, along with a letter from publisher Guy Spitzer to Wofsy discussing this edition, written in July 1973. Catalogue Raisonné & COA: 1. Wofsy, Alan, The Picasso Project, The Sixties II, 2002, recorded with letter from Guy Spitzer on page x. 2. Letter from Guy Spitzer to Alan Wofsy, July 1973, discussing Le Peintre. 3. Picasso and the Allure of Language Exhibition Catalogue, Yale University Art Museum 2008. About the Framing: | |
| Style: | Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris, Vollard |
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![Picasso, Nature morte au crâne (Still Life with Skull), 1914 [G.36; Bl.26]](/inventory/picasso/prev_picasso2385.jpg)
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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.
