Pablo Picasso, Figure, 1971
Signed Pablo Picasso, Ceramic Madoura Sculpture, Figure, 1971
|Artist:||Picasso, Pablo (1881 - 1973)|
Picasso Madoura ceramic plaque made from red earthenware clay
|Image Size:||12.4 in x 11 in (31.5 cm x 28 cm)|
|Framed Size:||38 in x 35 1/4 in (96.5 cm x 89.5 cm)|
|Signed:||Publisher's signature stamps on the reverse, 'POINÇON ORIGINALE DE PICASSO' and 'MADOURA PLEIN FEU'|
|Edition:||Numbered from the edition of 200 in black ink on the verso, just beneath the publisher's archive number, J. 156 indicating the work is from a limited and numbered edition with the original stamp of Picasso|
|Condition:||A large, beautiful work in perfect condition|
Utilizing both incised lines and stamped images, Picasso creates a smiling, slightly quirky face. Picasso's simple, clean-cut lines delineate the basic image while his stamps add more detailed components. Though he offers us a more literal translation by stamping the eyes with an eye shaped stamp, Picasso also utilizes this eye stamp to create his subject's mouth, mixing and matching facial components and giving them new definitions in the process.
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Created in 1971, this rectangular plaque is from a limited and numbered edition with the original stamp of Picasso and numbering on the reverse: ‘POINÇON ORIGINALE DE PICASSO’ and ‘MADOURA PLEIN FEU.’ Numbered from the edition of 200.
This simplistic, yet multi-faceted plaque is a stunning work which exhibits up to eight original stamps by Pablo Picasso. Together with a series of deeply-set lines, the composition unites to create a “figure” with a prominent triangle in the center. The lower three sections along the bottom plaque edge forms an anchoring effect that helps to stabilize the image; inside each of these “compartments,” are free-flowing figures that seem to be suspended in an organic movement. The five stamps above are variations of a face, with two oval stamps serving as eyes at the top. Overall, this plaque appears to work in tandem with its “female” counterpart, the Face with Curves, which is also featured in our Picasso inventory.
About the Framing:
|Style:||20th Century Modern Art, Modern Artist, Cubism, Cubist|
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Biography of Pablo Picasso
"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.