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Email to FriendSigned Pablo Picasso, Ceramic, Pichet aux arums (Pitcher with Lilies), 1953  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
|---|---|
| Title: | Pichet aux arums (Pitcher with Lilies), 1953 |
| Reference: | R. 189 |
| Medium: | Original pitcher of white earthenware clay decorated in engobes |
| Image Size: | DIMENSIONS: 11 9/10 in x 6 7/10 in x 10 3/5 in (30.3 cm x 17 cm x 27 cm) |
| Signed: | Bearing publisher's stamps on bottom, 'Madoura Plein Feu' and 'Edition Picasso'. |
| Edition: | Numbered 4/350 on bottom in black. |
| Condition: | This work is in very good condition. |
| Gallery Price: Item# 3942 | Sorry, this item is sold. Please visit the rest of our Picasso fine art collection |
| Historical Description: | |
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Using a timeless symbol and image of beauty, Picasso portrays two white arum lilies on either side of the pitcher. A symbol of resurrection and rebirth, these white elegant flowers have been made with careful, yet powerful stokes of the brush creating a textured quality to them. Used for both weddings and funerals, the duality of this flower is embraced by Picasso who portrays it twice on the pitcher, with only a simple leaf dividing them. The leaf, when portrayed in art, usually represents peace and quite so perhaps Picasso interprets life as a peaceful journey, one that is meant to belong solely to individual living it, good or bad. The piece's unique graphic nature and simple colors make it an instant classic for collectors of Picasso's Madoura ceramics. Created in 1953, this original pitcher of white earthenware clay is decorated in engobes. This work is numbered 4/350 on the bottom and inscribed 'EDITION PICASSO' and 'MADOURA PLEIN FEU'.
1. Ramié, Alain. Picasso Catalogue of the edited ceramic works 1947-1971. 1988. Listed and illustrated as catalogue raisonné no. 189 on p. 102. 2. Ramié, Georges. Picasso's Ceramics, Viking Press: New York, 1976. Listed and illustrated as catalogue raisonné no. 166. 3. A Certificate of Authenticity will accompany this work. | |
| 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.
