Pablo Picasso, Petite Tête de Femme Couronnée de Fleurs (Small Head of a Woman with a Crown of Flowers),1962
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Email to FriendSigned Pablo Picasso, Linocut / Linoleum Cut, Petite Tête de Femme Couronnée de Fleurs (Small Head of a Woman with a Crown of Flowers),1962  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
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| Title: | Petite Tête de Femme Couronnée de Fleurs (Small Head of a Woman with a Crown of Flowers),1962 |
| Reference: | Bloch 70, Baer 1305 |
| Medium: | Original Linocut or Linoleum Cut |
| Image Size: | 14 3/8 in x 11 3/4 (36.5 cm x 29.8 cm) |
| Sheet Size: | 24 5/8 in x 17 1/2 in (62.5 cm x 44.5 cm) |
| Framed Size: | 31 3/4 in x 27 3/4 in (81 cm x 70.5 cm) |
| Signed: | This work is hand-signed by Pablo Picasso (Malaga, 1881 - Mougins,1973) in pencil in the lower right margin. |
| Edition: | This work is numbered 35/50 from the edition of 50 in pencil in the lower left margin. |
| Condition: | This work is in excellent condition. |
| Gallery Price: Item# 3944 | Sorry, this item is sold. Please visit the rest of our Picasso fine art collection |
| Historical Description: | |
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This woman with a crown of flowers is a stunning example of Picasso's mastery of abstraction. Her heart-shaped face intrigues the viewer as it simultaneously appears to depict a woman's face in a frontal as well as two profile views. Her long, wavy hair rests at her shoulders while, upon her head, she dons a crown of flowers. Boldly composed with rich, dark tones and opaque shapes, this piece evokes a sense of beauty and calm. Utilizing simple shapes and lines to create complex imagery, Picasso's abstract technique takes on a multitude of layers in this work. Shapes overlap and intersect to create various textures, highlights, and shadows of the face. Using dark brown and black as the highlight to beiges and tans, the viewer is drawn in to the image through the use of tonal variation and contrast. Created in 1962, this original linocut or linoleum cut is hand signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right margin. Printed by Arnéra, Vallauris and published by Louise Leiris, Paris, this work is numbered 35/50 from the edition of 50 in pencil in the lower left margin. Provenance: Catalogue Raisonné & COA: 1. Baer, Brigitte. Picasso: Peintre-Graveur, Tome V. Berne: Editions Kornfeld, 1989. Listed and illustrated on pp. 419-20 as catalogue raisonné no. 1305. 2. 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. 1068 on pg. 224. 3. Lieberman, William S. and Donald L. McVinney. Picasso Linoleum Cuts. New York: Random House, 1985. Listed and illustrated on pp. 72 as cat. no.70. 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.
