Pablo Picasso, Femme (Woman), 1955
Signed Pablo Picasso, Lithograph, Femme (Woman), 1955
|Artist:||Picasso, Pablo (1881 - 1973)|
|Title:||Femme (Woman), 1955|
|Reference:||Czwiklitzer 104, Rodrigo 68|
Original Color Lithograph
|Image Size:||36 1/5 in x 23 3/5 in (92 cm x 60 cm)|
|Sheet Size:||40 3/5 in x 27 in (103 in x 68.5 cm)|
|Framed Size:||55 in x 42 1/2 in (139.7 cm x 108 cm)|
|Signed:||This work is hand-signed by Pablo Picasso (Malaga, 1881 - Mougins, 1973) in pencil in the lower right margin.|
|Edition:||Artist proof aside the numbered edition 100.|
|Condition:||This work is in excellent condition with rich color.|
|Gallery Price: |
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Depicting Picasso's muse and lover Dora Maar, a painter and photographer in her own right, this work beguiles the viewer. Its abstracted imagery recalls the artist's seminal painting Les Demoiselles d'Avignon (1907), a canvas that secured his place in art history. Femme is a half-length portrait showing Dora with her arms framing her body; in one arm she holds a piece of fruit. Her eyes, set on different levels, are large and somewhat haunting. They hold the viewer's gaze, and one can only imagine what it must have been like to be in Picasso's place, meeting her look. The tight margins and defined, close space of the yellow room enforce this sense of intimacy, hinting at deeper, more complicated layers of emotion.
Created in 1955, this original color lithograph is hand-signed by the artist in the lower right. Mourlot was the printer, and created this work after the original oil on canvas entitled Woman's Face (Dora Maar), painted by Picasso in 1944.
Catalogue Raisonné & COA:
1. Czwiklitzer, Christopher. Pablo Picasso: Plakate 1923-1973. Munich: Deutscher Taschenbuch Verlag, 1981. Illustrated as catalogue no. 104.
2. Christopher, Picasso's Posters, 1971. Another example of the work is listed and illustrated in this catalogue raisonné as cat. no. 92 and detailed on pg. 318.
3. Rodrigo, Luis Carlos. Picasso: in his posters, image and work. Spain: Arte Ediciones, 1992. Listed and illustrated on pp. 104-05 as catalogue no. 038.
4. 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.