Pablo Picasso, Owl, 1954
Signed Pablo Picasso, Ceramic, Owl, 1954
|Artist:||Picasso, Pablo (1881 - 1973)|
Original Pitcher of White Earthenware Clay
|Image Size:||HEIGHT: 11 3/4 in (29.8 cm)|
|Signed:||Marked with 'Edition Picasso' and 'Madoura' Stamps on the bottom of the base. Written into the glaze is also the text, 'Edition Picasso Madoura' in black.|
|Edition:||From the edition of 500.|
|Condition:||This work is in excellent condition.|
|Gallery Price: |
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|One of Picasso's more inspiring design choices, this pitcher of white earthenware
clay is of an owl. Outlined in a vibrant blue that poetically reflects the gentleness
of the creature, the owl is positioned straight forward with gazing eyes. A symbol
of wisdom and change, the owl is revered in multiple cultures for its graceful
flight and all-knowing gaze. Picasso's love of birds is well known, and he owned
as owl himself as Francoise Gilot reflected in her memoir Life with Picasso:
"Pablo loved to surround himself with birds and animals. In general they were exempt from the suspicion with which he regarded his other friends. While Pablo was still working at the Musée d'Antibes, Sima had come to us one day with a little owl he had found in a corner of the museum. One of his claws had been injured. We bandaged it and gradually it healed. We bought a cage for him and when we returned to Paris we brought him back with us and put him in the kitchen with the canaries, the pigeons, and the turtledoves Every time the owl snorted at Pablo he would shout, "Cochon, Merde" and a few other obscenities, just to show the owl that he was even worse mannered than he was. He used to stick his fingers between the bars of the cage and the owl would bite him, but Pablo's fingers, though small, were tough and the owl didn't hut him Finally the owl would let him scratch his head and gradually he came to perch on his finger instead of biting it.."
Created in 1954, this work is constructed from white earthenware clay, with oxide decoration on white enamel with blue. From the edition of 500, this work contains guaranteed authentic 'Madoura Plein Feu' and 'Empreinte Originale de Picasso' stamps on the bottom of the base. Written into the glaze is also the text, 'Edition Picasso Madoura' in black.
Catalogue Raisonné & COA:
1. Ramié, Alain. Picasso Catalogue of the edited ceramic works 1947-1971. 1988, listed as cat no 253 on pg 133.
2. A Certificate of Authenticity will accompany this work.
|Style:||20th Century Modern Art, Modern Artist, Cubism, Cubist|
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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.