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Email to FriendSigned Pablo Picasso, Ceramic, Dancers and Diaulos Player, 1956  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
|---|---|
| Title: | Dancers and Diaulos Player, 1956 |
| Reference: | Bloch 106, Ramié 341 |
| Medium: | Original oval dish of white earthenware clay |
| Image Size: | 15 1/8 in x 12 9/16 in (38.5 cm x 32 cm) |
| Framed Size: | approx. 25 x 25 in (63.5 cm) |
| Signed: | Inscribed stamps on the underside of the dish: 'Madoura plein feu' and 'Empreinte originale de Picasso', along with inscription 'D. 101' |
| Edition: | Numbered 63/100 (from the edition of 100) on the reverse. |
| Condition: | This piece is in excellent condition |
| Gallery Price: Item# 3467 | Sorry, this item is sold. Please visit the rest of our Picasso fine art collection |
| Historical Description: | |
|---|---|
Dancers and diaulos player can be compared to several other white earthenware pieces created by Picasso in 1956. Each depicts the carefree imagery of dancers, musicians, and fauns to which the artist returns time and again. With minimal description, Picasso gives life to a scene of abandon. Framed under a sloping mountain, two figures dance with arms raised above their heads, hands clasped in a spontaneous gesture. Leafy trees and flowers mark both ends of the composition. To the right the diaulos player lends his music while a reclining figure in the foreground listens; the bent knee mirrors the peak in the distance just as the musician's linear form echoes the thick tree trunk at right. The raised image occupies real space, its volume adding substance. In 1956, this original earthenware dish was created at the Madoura Pottery workshop through a process designed by the owners, Suzanne and Georges Ramié, specifically for Picasso's needs. The artist engraved his subject on a hardened plaster matrix; fresh ceramic sheets were then laid on the matrix, becoming impressions of Picasso's design that made up the final edition (Ramié, 9). Numbered 63/100, this clay dish is inscribed underneath with authentic pottery stamps 'Madoura plein feu' and 'Empreinte originale de Picasso.' 'D. 101' also inscribed underneath. DOCUMENTED AND ILLUSTRATED IN: ABOUT THE FRAMING: Museum-grade conservation framed in a complementary moulding with silk mats and optical-grade Plexiglas. | |
| 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.
