Pablo Picasso, Toros Vallauris, 1958
|Artist:||Pablo Picasso (1881 - 1973)|
|Title:||Toros Vallauris, 1958|
|Medium:||Original Color Linocut|
|Image:||25 1/2 in x 20 3/4 in (64.8 cm x 52.7cm)|
|Sheet:||31 7/8 in x 24 3/4 in (81 cm x 61.6 cm)|
|Framed:||44 1/2 in x 39 1/4 in (113 cm x 99.7 cm)|
|Edition:||This work is from the numbered edition of 195 in pencil in the lower left margin.|
|Signature:||This work is hand signed by Pablo Picasso (Malaga, 1881- Mougins, 1973) in red crayon in the lower right hand side of the work.|
|Condition:||This work is in excellent condition.|
Price on Request
Comprised of bold colors and intricate gouges of line, this work illustrates Picassos (Malaga, 1881- Mougins, 1973) mastery of skill and technique. Presenting the bullfighter in the multiple perspectives of a cubist image, a sense of grandeur and elegance is personified in this work.
Created on June 24, 1958, this original color linocut is printed by Imprimerie Arnera on Arches Vellum and published by Vallauris Potters Association. From the edition of 195 as documented by Luis Carlos Rodrigo, this work is numbered 17/195 in pencil in the lower left and hand signed by Pablo Picasso (Malaga, 1881- Mougins, 1973) in red crayon in the lower right.
Joseph K. Foster discussed this work in his book 'The Poster's of Picasso', "This poster is generally regarded as his finest linoleum gravure in the poster field, and suggests his growing preoccupation with this print form. It is full of bold and intricate design, and covers wide areas of subject matter, with hitherto unmatched skill. The poster is additionally important in that Picasso essays the intricate technique of his 'Girl in the Mirror' period in this medium. Upon looking closely, one observes two aspects of the same face, front and profile, constructed on the same plane. In the profile the queue and the bun of the torero's wig are patent, as are his ear, eye, nose, mouth, and chin. The epaulet of his costume in profile is also plain, above the lettering '1958.' By Picasso's magic, the same eye, nose, and mouth are now used to complete the structure of the front view, and the epaulet of this construction, in different design, is equally plain. Thus by a brilliant blending of elements Picasso creates an illusion of movement, a three-dimensional impression on a flat surface. It is as though the spectator were walking around the figure. The ever-present humor is again evidenced by putting Vallauris in lights." (Foster 34)
DOCUMENTED AND ILLUSTRATED IN:
1) Rodrigo, Luis Carlos, Picasso in His Posters, Vol I, 1992, listed as cat no 071
on pgs 170 and 171.
2) Rodrigo, Luis Carlos, Picasso in His Posters, Vol III, 1992, listed as cat no 071
on pg 1,651.
3) Bloch, Georges, Pablo Picasso, Tome I, Catalogue de l'oeuvre grave et
lithographié, 1904-1967, 1984, listed as cat no 1282 on pgs 274 and 275.
4) Baer, Brigitte, Picasso Peintre-Graveur, Tome IV, 1986, listed as cat no 1049
on pg 387.
5) Foster, Joseph K., The Posters of Picasso, 1964, listed as plate 47 with a
discussion on pg 34.
6) Lieberman, William S., Picasso Linoleum Cuts, 1985, listed as cat no 133 on
7) Czwiklitzer, Christopher, Picasso's Posters, 1981, listed as cat no 29 with
details on pg 534.
About the Framing:
Conservation framed with archival materials and museum quality, this work is set in a contemporary gold style frame. The tone of the framing compliments the contrasting colors in this piece. Completed with white linen wrapped mattes and a matching gold inner fillet, this work is set behind an archival Plexiglas cover.