Pablo Picasso, Man's Face, 1966
Pablo Picasso, Madoura Sculpture, Man's Face, 1966
|Artist:||Picasso, Pablo (1881 - 1973)|
|Title:||Man's Face, 1966|
Rectangular Red Earthenware Madoura Plaque
|Image Size:||6 1/2 in x 4 in (16.5 cm x 10.5 cm)|
|Framed Size:||19 in x 16 1/2 in (48.3 cm x 41.9 cm)|
|Edition:||Numbered 310/500 in black on verso along with publisher's stamps, 'Madoura Plein Feu' and 'Empreinte Originale de Picasso|
|Condition:||This work is in excellent condition.|
A man with a goatee stares out at us with distinct purpose and character. Through the captivating eyes and distinguished features, Picasso took advantage of the natural earth tones of the clay.
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Comprised of a simple linear carved design in an earth tone clay plaque, Picasso takes advantage of the natural earth tones of the clay to create a warm hued work with a strong contrasting black engobe. It is very reminiscent of a linocut in both technique and the total effect. Depicting a linear scene carved from the surface of a clay plaque, a man with a goatee stares out at us with distinct purpose and character. The simplicity of the work exhibits the artist's skill in creating a visual story with minimal manipulation of the earthenware clay. Georges Bloch stated of Picasso's ceramic works, "He expresses thoughts that have occupied him for years in a new, one might almost say a purified form. He works with the potter's tools, with graver and gouge, with molette and roulette, but he also uses the blunt end of a pencil, a knife or anything else that comes to hand The mood of the works varies with the artist's state of mind at the time of their conception, now stark and forceful, now delicate and tender, sometimes suggesting improvisation, sometimes passionate concentration. Picasso's love of experiment comes out more clearly here than in other domains, his readiness to venture on hitherto forbidden paths." (Bloch 8-9).
Created in 1966, this rectangular plaque is created out of red earthenware clay, printed with an engobe pad in black. Inscribed '310/500' on the reverse, this work is also stamped 'Empreinte Originale de Picasso, Madoura plein feu.'
1. Ramié, Alain, Picasso: Catalogue of the edited ceramic works 1947-1971, 1988, listed as cat no 539 on pg. 268.
2. A Certificate of Authenticity will accompany the 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.