Pablo Picasso, Venus and Cupid after Cranach the Elder (Venus and Cupid, the Honey Thief), c. 1957
Signed Pablo Picasso, Lithograph, Venus and Cupid after Cranach the Elder (Venus and Cupid, the Honey Thief), c. 1957
|Artist:||Picasso, Pablo (1881 - 1973), After|
|Title:||Venus and Cupid after Cranach the Elder (Venus and Cupid, the Honey Thief), c. 1957|
Original Color Lithograph on Arches wove Watermarked Paper
|Image Size:||25 1/4 in x 19 3/4 in (64.1 cm x 50.2 cm)|
|Sheet Size:||30 in x 22 5/8 in (76.2 cm x 57.5 cm)|
|Framed Size:||43 in x 37 in (109.2 cm x 93.4 cm)|
|Signed:||This work is hand-signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in blue crayon in the lower right margin.|
|Condition:||A marvelous large work in wonderful condition.|
|Gallery Price: |
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A story from Ancient Greece, Cupid and the Bee offers a warning of seeking transitory pleasures. In the story, Cupid indulges himself in honey and ends up in pain for his wantonness. In Picasso's playful and complex interpretation, Venus and Cupid emerge from a fantastical wilderness. Venus, in her Cubist form mastered by Picasso, is shown in unnatural proportions with voluptuous hips and breasts, thin limbs, a shrunken head, and an unscrupulous pregnant belly. Modestly covering herself with a diaphanous scarf, she consoles her son, Cupid. Cupid is shown in anguish, as he looks to Venus guiltily with the stolen hive in hand, suffering for his offense. The large scale of this work allows us as the viewer to examine the finer details, analyze the style, and truly appreciate the genius of Picasso.
Created 1960, this original lithograph is based on an earlier gouache painting from 1957. Printed on Arches wove paper with the Arches watermark, this work was printed by Mourlot, Paris, and published by Paul Rosenburg. Hand-signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in blue crayon in the lower right margin. The reverse contains the following printed inscription from an additional plate: 'Venus et l'amour voluer de miel, collection Lehman, le 12.6.57, fait. 13.6.57, Cranach l'Ancien.' This text was printed in script on a second plate to reflect the original paintings provenance association in the Lehman collection. Cranach l'Ancien is Lucas Cranach the Elder, a fifteenth century German Renaissance artist who portrayed his own interpretation of the story in his oil on oak panel Cupid and the Bee (1526-27), and whom Picasso dedicated this work to.
Catalogue Raisonné & COA:
2. A Certificate of Authenticity will accompany this work.
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.