Pablo Picasso, Still Life, 1953
Pablo Picasso, Ceramic Madoura Sculpture, Still Life, 1953
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|Artist:||Picasso, Pablo (1881 - 1973)|
|Title:||Still Life, 1953|
Original Madoura rectangular dish of white earthenware clay with decoration n engobes (green, red, blue, white, black); knife engraved under glaze
|Image Size:||15 1/4 in x 12 1/2 in (38.7 cm x 32 cm)|
|Framed Size:||Approx. 29 3/4 in x 26 3/4 in (75.6 cm x 67.9 cm)|
|Edition:||From the edition of 400 with the 'D'Apres Picasso' and 'Madoura Plein Feu' publisher's stamps on the verso; inscribed 'Edition Picasso' in black on the reverse.|
|Condition:||This work is in excellent condition.|
Picasso utilizes sharp linear and color contrasts to create an abstract still life that, contrary to its title, retains a sense of liveliness.
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|In this abstract still life, Picasso's jagged lines connect at sharp angles, leading the viewer's
eye up, down, and around this still life scene and contributing to this sense
of animation. Furthermore, the subjects - an apple and glass - are outlined
in thick, black lines, causing their green and white hues to pop out. The use
of thick, white lines next to these black lines provides further contrast and
highlights these central figures. On the border, Picasso creates a snakelike
triangular pattern of blue-purple that is rhythmically dotted with green spots,
adding a decorative touch while still contributing to this sense of zig-zagged
motion. The dark, black outlines of the image are galzed, adding a sense of
texture and toying with the light, causing the piece to shimmer when viewed
from varied angles.
Created in 1953, this original Madoura ceramic rectangular dish of white earthenware clay with decoration in engobes (green, red, blue, white, black) was knife engraved under glaze. This work is from the edition of 400 with the 'D'Apres Picasso' and 'Madoura Plein Feu' stamps on the verso; inscribed 'Edition Picasso' in black on the reverse.
Catalogue Raisonné & COA:
1. Ramié, A. (1988) Picasso Catalogue of the edited ceramic works 1947-1971. Listed and illustrated as catalogue raisonné no. 219.
2. A Certificate of Authenticity will accompany this 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.