Pablo Picasso ceramic Taureau sous l'arbre (Bull Under the Tree), 1952 showcases Picasso's love for animals, in particular the bull.  The artist was particularly admired the bull's energy and intelligence. Displayed in a robust fashion, the musculature and mass of the bull is represented by the rounded forms of the back and legs. Picasso uses thick, black brushstrokes to create the commanding outline of the bull. Using color and paint, Picasso is able to imbue the ceramic plate with the physicality and strength of the bull. The addition of green tones around the painted forms and dots around the rim adds a sense of vitality and energy to the work. Viewers are easily able to imagine the emotions and excitement surrounding the impressive beast. According to Picasso scholar Vicente Marrero "In the work of Picasso, the bull is like one of those Spanish rivers, turbulent and agitated, which lose themselves among the brambles, rocks, and reeds, only to reappear later at some other place further on, in plain sight. There are times when it appears that the bull is adumbrated even in the "figures" of the painter, figures as profound as they are debatable and enigmatic" (Marrero, 83).

Created in 1952,this Madoura turned round plate of white earthenware clay decorated with oxidized paraffin (black) and white enamel is inscribed 'Edition Picasso' and stamped with the 'EDITION PICASSO' and 'MADOURA PLEIN FEU' pottery stamps on the underside. From the edition of 500.

Catalogue Raisonné & COA:
Pablo Picasso ceramic Bull Under the Tree (Taureau sous l'arbre ), 1952 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices accompanying the final sale of the work):

1. Ramié, A. (1988) Picasso Catalogue of the edited ceramic works 1947-1971. Listed and illustrated as catalogue raisonné no. 159.

2. A Certificate of Authenticity will accompany this work.