Pablo Picasso, Toros Céramiques Vallauris (Bulls Ceramics Vallauris), 1959
Signed Pablo Picasso, Linocut / Linoleum Cut, Toros Céramiques Vallauris (Bulls Ceramics Vallauris), 1959
|Artist:||Picasso, Pablo (1881 - 1973)|
|Title:||Toros Céramiques Vallauris (Bulls Ceramics Vallauris), 1959|
|Reference:||Czwiklitzer 34, Foster 44|
Original color linocut or linoleum cut
|Image Size:||25 in x 21 in (63.5 cm x 53.3 cm)|
|Sheet Size:||29 1/2 in x 22 1/2 in (74.9 cm x 57.1 cm)|
|Framed Size:||44 in x 39 in (111.8 cm x 99.1 cm)|
|Signed:||Hand signed by Pablo Picasso (1881 - 1973) in pencil in the lower right margin.|
|Edition:||Annotated 'E.A.' (Epreuve d'artiste) in pencil in the lower left margin; one of 25 examples reserved for the artist aside from a signed and numbered edition of 175 on Arches.|
|Condition:||The work is in excellent condition with bold colors throughout.|
|Gallery Price: |
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|Picasso's ingenuity as an artist expresses itself in his ability to master new
mediums. Just as his approach to ceramics later in life expanded the possibilities
of the ancient craft, so his experiments with the linocut or linoleum cut were
highly inventive. After years of creating linocuts, Picasso came to the unique
method of using just one block of linoleum to create each print, cutting away
at the block after printing each color. Such a technique required an amazing
ability to visualize the final work, and also assured that each edition was
Writing about this particular print, Joseph K. Foster notes the similarities between this work and another one advertising a Vallauris exhibition from 1954. For our example, he writes, Picasso, "uses the designs on the vase itself, instead of shadow lines and shapes, to create the feeling of a multiplicity of forms" (34). Although only one ceramic vase is depicted, Picasso infuses it with the energy of multiple forms, creating a visual puzzle to occupy the viewer.
Created in 1959, this original color linocut is hand signed by Pablo Picasso (1881 - 1973) in pencil in the lower right margin, and annotated 'E.A.' (Epreuve d'artiste) in pencil in the lower left margin. As one of the 25 examples reserved for the artist, this print exists aside from the edition of 320 impressions, of which 175 are printed on Arches paper and numbered and signed by the artist. Arnéra, Vallauris, did the printing for the edition. An example of this print is in the collection of the Metropolitan Museum of Art, New York.
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
"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.