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Email to FriendSigned Pablo Picasso, Lithograph, Centaure et Bacchante (Centaur and Bacchante), 1947  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
|---|---|
| Title: | Centaure et Bacchante (Centaur and Bacchante), 1947 |
| Reference: | Bloch 416 |
| Medium: | Original Lithograph |
| Image Size: | 21 1/3 in x 18 7/8 in (54 cm x 48 cm) |
| Sheet Size: | 25 1/4 in x 19 in (64.1 cm x 48.3 cm) |
| Framed Size: | 39 3/5 in x 34 in (101.1 cm x 86.4 cm) |
| Signed: | This work is hand-signed by Pablo Picasso (Malaga, 1881 - Mougins,1973) in pencil in the lower left. |
| Edition: | This work is numbered from the edition of 50 in pencil in the lower left. |
| Condition: | This work is in excellent condition; framed in a handmade, close-cornered, gold leaf frame with slight surface damage along the border. |
| Gallery Price: Item# 3939 | Sorry, this item is sold |
| Historical Description: | |
|---|---|
Holding hands, a centaur and bacchante stand side by side, calmly gazing out at us. These two mythological creatures are amongst Picasso's favorite subjects, depicted here through lively black strokes against a simple, white background. The female bacchante, or worshipper of Bacchus, stands with a staff in hand, her voluptuous figure elegantly conveyed through Picasso's graceful, curved lines. Beside her, the centaur, or part horse part man, also stands with a staff in hand. Against the pale, delicate form of the bacchante, the bold, jagged form of the centaur clearly stands out. Composed of thick, erratic black strokes, the centaur appears as if buzzing with energy despite his still position. Composed and motionless, these two figures indeed appear magical, as if casting a spell and inviting us to enter their mythological world. Created in 1947, this original lithograph is hand signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right and numbered from the edition of 50 in pencil in the lower left. Provenance: Catalogue Raisonné & COA: 1. Bloch, Georges. Pablo Picasso, Tome I Catalogue de l'oeuvre grave et lithographie 1904-1067. Edition Kornfeld: Berne, 1984. Listed and illustrated as catalogue raisonné no. 416 on pg. 116. 2.Mourlot, Fernand. Picasso Lithographe 1919-1947. Monte Carlo: Editions du Livre. Listed as catalogue no. Listed and illustrated as catalogue no. 62. 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
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.
