Pablo Picasso, Femme Torero, II (Woman Bullfighter, II) from the Vollard Suite, 1934
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Email to FriendSigned Pablo Picasso, Etching, Femme Torero, II (Woman Bullfighter, II) from the Vollard Suite, 1934  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
|---|---|
| Title: | Femme Torero, II (Woman Bullfighter, II) from the Vollard Suite, 1934 |
| Reference: | Baer 426, Bloch 220 |
| Medium: | Original Etching |
| Image Size: | 11 7/16 in x 9 1/3 in (29.7 cm x 23.6 cm) |
| Sheet Size: | 17 in x 13 in (43.2 cm x 33 cm) |
| Framed Size: | 36 1/2 in x 32 1/2 in (92.7 cm x 82.6 cm) |
| Signed: | This work is hand-signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right margin. |
| Edition: | From the edition of 260 printed on Montval laid paper with the Vollard watermark. |
| Condition: | Wonderfully deep impression with strong plate mark; in excellent condition. |
| Gallery Price: Item# 3941 | Sorry, this item is sold. Please visit the rest of our Picasso fine art collection |
| Historical Description: | |
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| A remarkably detailed work from the Vollard series, Femme Torero, II (Woman
Bullfighter, II) depicts an image of chaos instilled with a sharp sense of contrast.
We cannot quite be certain of the identity of the figures in this piece, as
a lovely nude woman rests draped upon a creature (or creatures) that appears
as part man, bull, and horse. Picasso uses graceful, curved lines to convey
the woman, who is rumored to represent his lover Marie Thérèse.
In contrast to the femininity of the female form, the figure of the creature(s)
carrying her is composed of frenetic lines, relaying a threatening and possessive
tone. The strong use of cross hatched lines in the background only further contributes
to the sense of overwhelming power and pandemonium apparent in this striking
work.
Created in 1934, this original etching is from the edition of 260. This piece is hand signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right margin. It is printed on Montval paper with the Vollard watermark by printer Atelier Lacourière, Paris and published by Ambroise Vollard. 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. 220 on pg. 72. 2. Bolliger, Hans, intro. Picasso's Vollard Suite, Harry Abrams Publishers: New York, 1977. Listed and illustrated as plate no. 22. 3. Geiser, Bernhard with Alfred Scheidegger. Picasso Peintre-Graveur, Tome II Catalogue Raisonné de l'œuvre gravé et des monotypes 1932-1934, Editions Kornfeld: Berne, 1992. Listed and illustrated as catalogue raisonné no. 426 on pg. 294. 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.
