Pablo Picasso, Nature morte au citron et un pichet rouge (Still Life with Lemon and Red Pitcher), c.1955
Signed Pablo Picasso, Etching Aquatint, Nature morte au citron et un pichet rouge (Still Life with Lemon and Red Pitcher), c.1955
|Artist:||Picasso, Pablo (1881 - 1973), After|
|Title:||Nature morte au citron et un pichet rouge (Still Life with Lemon and Red Pitcher), c.1955|
Original Etching and Aquatint on BFK Rives wove paper
|Image Size:||13 x 16 in (33 x 40.6 cm)|
|Sheet Size:||18 x 21 in (45.7 x 53.3 cm)|
|Framed Size:||35 x 32 in (88.9 x 81.3 cm)|
|Signed:||This work is hand-signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right margin.|
|Edition:||Numbered 291/300 in pencil in the lower left.|
|Condition:||This work is in great condition, a wonderful bright and fresh impression with full margins and an extensive amount of thick painterly ink texture throughout the image.|
|Gallery Price: |
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Full of wonderful rich color and marvelous painterly textures, Picasso explores the printmaking technique in this splendid still life etching and aquatint. There is a delicate balance of color that captures our attention and prompts our eyes to move around the composition, bringing a sense of life and movement to the piece. This sense of life and movement is further emphasized by the amazing textural quality found throughout the work, which is achieve through the aquatint technique.
Created c.1955, this color aquatint was printed on watermarked BFK Rives wove paper. Printed and published by Atelier Crommelynck, Paris, this work is hand-signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right margin, and contains the Cormmelynck blindstamp. Numbered 291/300 in the lower left, this work has an extensive amount of thick ink texture throughout the image.
Depicting the still life with a rich array of pastel pinks, blues, greens, yellows, and oranges, this work also contains bold dark blacks, reds, and greens. The chromatic brilliance is heightened through the use of thick painterly ink texture throughout the image. Illustrating the pitcher in a cubist manner, the lights and shadows are separated with distinct shift in color and tone. Balancing the image, a bright yellow lemon with the branch still attached, sits next to a delicate round orange. The bright white on blue of the background makes the darks of the images stand out in sharp contrast, creating a sense of depth and volume to the piece.
Catalogue Raisonné & COA:
A Masterworks Certificate of Authenticity will accompany this work.
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.