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PABLO PICASSO (1881-1973)

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
"La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt. "La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt.
Die Frau mit dem Tambourin1939Bildformat 26 x 20 in. / Blattgröße 30 1/8 x 22 3/8 in.(66,04 x 50,8 cm) Radierung und Aquatinta auf Arches-Papier
Provenienz
Lumley Cazalet Ltd, London
Privatsammlung, London, erworben von der oben genannten Person, 1999
Piasa Paris Auctioneers, Hotel Drouot, Saal Nr. 9, Donnerstag, 3. Juni 1999, Los 155 (Katalog der Versteigerung von H.M. Petiet Drucke)
Privatsammlung, erworben von den oben genannten, 1999
Christie's London: Dienstag, 28. Februar 2023, Los 44
Privatsammlung, erworben aus dem oben genannten Verkauf
Literaturhinweise
Bloch G (1968), Pablo Picasso: catalogue de l'oeuvre grave et lithographie, Editions Kornfeld. 310
Baer B. & Geiser B (1986-1988), Picasso: peintre graveur...Mehr.....Editions Kornfeld (646.5Ba)
Mallen, Enrique, ed. 1997-2023. (OPP). Online Picasso Projekt. Sam Houston State University (39:005)
...WENIGER.....
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"Ich male die Dinge so, wie ich sie denke, nicht wie ich sie sehe." - Pablo Picasso

Geschichte

La femme au tambourin (1939) ist eines der größten grafischen Werke von Pablo Picasso. Das Werk, das teilweise auf Kompositionen von Degas und Poussin basiert, strahlt eine starke klassizistische Präsenz mit einem modernistischen Einschlag aus. Man nimmt an, dass es sich um eine Darstellung von Dora Maar, Picassos damaliger Geliebten, handelt, und der Druck ist bei institutionellen und privaten Sammlern sehr begehrt. Ein Exemplar dieser Ausgabe befindet sich in der ständigen Sammlung des Museum of Modern Art, New York, und ein weiteres in der National Gallery of Art, Washington, D.C.

Picassos Experimente mit der Druckgrafik begannen im ersten Jahrzehnt des 20. Jahrhunderts und beschäftigten ihn viele Jahrzehnte lang, bis in die 1970er Jahre. In dieser Zeit wandte Picasso verschiedene druckgrafische Verfahren an, darunter Lithografie, Radierung, Aquatinta und Linolschnitt. Seine frühesten Drucke waren, wie das vorliegende Werk, Stichtiefdrucke. Bei La femme au tambourin setzte Picasso zusätzlich die Aquatinta ein, die in der gesamten Komposition einen aquarellartigen Effekt und eine extreme Bandbreite an Tonwerten ergab. Gerade diese Technik eröffnete Ausdrucksmöglichkeiten, die in der Malerei nicht zu finden waren. Picassos grafisches Werk gehört aufgrund seiner Experimentierfreudigkeit und seiner Meisterschaft zu den am meisten respektierten und begehrtesten Werken der Kunstgeschichte und steht in Konkurrenz zu dem von Rembrandt.

  • Picasso, Dorra Maar und Man Ray
    Foto von Dora Maar (rechts) neben Pablo Picasso in Antibes von Man Ray, 1937
  • Picasso und Dora Maar
    Pablo und Dora Maar, 1940er Jahre
  • Picasso im Atelier
    Pablo Picasso in seinem Atelier in Cannes, 1956. Photographie: Arnold Newman/Getty Images
  • Le Femme MoMA
    Pablo Picasso "Frau mit Tamburin (La Femme au tambourin)" (1939, veröffentlicht 1943), Museum of Modern Art, New York
"Der Zweck der Kunst ist es, den Staub des täglichen Lebens von unserer Seele zu waschen." - Pablo Picasso

MARKTEINBLICKE

  • Picasso AMR 3.1985-6.2023
    AMR Pablo Picasso Marktdiagramm 3/1985 - 6/2023
  • Seit 1985 beträgt die durchschnittliche jährliche Wachstumsrate für Picasso-Werke 8,8 %.
  • Es handelt sich um eine unglaublich kleine Auflage von nur 30 Exemplaren, von denen sich einige bereits in Museumssammlungen befinden.
  • Nach den 1950er Jahren wurde Picasso wesentlich produktiver. Seine Werke aus den äußerst produktiven 60er und 70er Jahren erreichen jetzt neue Rekorde, und seine großen Werke aus den 1930er und 40er Jahren sind praktisch unerreichbar.
  • La femme au tambourin gehört zu den besten 15 % der Werke Picassos aus dieser Zeit.
  • Die kubistischen Werke aus den Jahren (ungefähr) 1907 bis 1920 sind nach den Werken der Blauen und der Rosa Periode wohl die seltensten. Die Werke aus der neoklassischen Periode (Kriegszeit der 1930er bis Ende der 1940er Jahre) liegen nicht weit dahinter.

Spitzenergebnisse bei Auktionen

Öl auf Leinwand, 45 x 57 1/2 Zoll, Verkauft bei Christie's New York: 11. Mai 2015.

"Les Femmes d'Alger" (Version 'O') (1955) verkauft für $179.364.500

Öl auf Leinwand, 45 x 57 1/2 Zoll, Verkauft bei Christie's New York: 11. Mai 2015.
Öl auf Leinwand, 61 x 26 Zoll, Verkauft bei Christie's New York: 08. Mai 2018.

"Fillette à la Corbeille Fleurie" (1905) verkauft für $115.000.000

Öl auf Leinwand, 61 x 26 Zoll, Verkauft bei Christie's New York: 08. Mai 2018.
Öl auf Leinwand, 64 x 51 1/4 Zoll, Verkauft bei Christie's New York: 04. Mai 2010.

"Akt, grüne Blätter und Büste" (1931) verkauft für 106.482.500 $

Öl auf Leinwand, 64 x 51 1/4 Zoll, Verkauft bei Christie's New York: 04. Mai 2010.
Öl auf Leinwand, 39 1/2 x 32 Zoll, Verkauft bei Sotheby's New York: 05. Mai 2004.

"Garçon à la pipe" (1905) verkauft für $104.168.000

Öl auf Leinwand, 39 1/2 x 32 Zoll, Verkauft bei Sotheby's New York: 05. Mai 2004.

Vergleichbare Gemälde auf Auktionen verkauft

"Le Repas Frugal" (1904), Radierung und Spachtel, 18 1/4 x 14 3/4 Zoll. Verkauft bei Christie's London: 01. März 2022 für 8.009.721 $.
"Le Repas Frugal" (1904), Radierung und Spachtel, 18 1/4 x 14 3/4 Zoll. Verkauft bei Christie's London: 01. März 2022 für 8.009.721 $.
"La Femme Qui Pleure I" (1937), Kaltnadel, Aquatinta, Radierung und Spachtel, 27 x 19 1/2 Zoll. Verkauft bei Sotheby's London: 05. Februar 2014 für 5.247.839 $.
"La Femme Qui Pleure I" (1937), Kaltnadel, Aquatinta, Radierung und Spachtel, 27 x 19 1/2 Zoll. Verkauft bei Sotheby's London: 05. Februar 2014 für 5.247.839 $.
"La Minotauromachie" (1935), Radierung und Kupferstich, 19 1/2 x 27 Zoll. Verkauft bei Sotheby's New York: 04. November 2014 für 2.405.000 $.
"La Minotauromachie" (1935), Radierung und Kupferstich, 19 1/2 x 27 Zoll. Verkauft bei Sotheby's New York: 04. November 2014 für 2.405.000 $.

Drucke in Museumssammlungen

"Frau mit Tamburin (La Femme au tambourin) (1939), Radierung und Aquatinta, 26 x 20 cm, The Museum of Modern Art, New York
"Frau mit Tamburin (La Femme au tambourin)" (1939), Radierung und Aquatinta, 26 x 20 cm, Museum of Modern Art, New York
"Frau mit Tamburin (La Femme au tambourin)" (1939), Radierung und Aquatinta, 26 x 20 cm, National Gallery of Art, Washington, D.C.
"Frau mit Tamburin (La Femme au tambourin)" (1939), Radierung und Aquatinta, 26 x 20 cm, National Gallery of Art, Washington, D.C.
"La Minotauromachie" (1935), Radierung, 19 1/2 x 27 1/4 Zoll, The Metropolitan Museum of Art, New York
"La Minotauromachie" (1935), Radierung, 19 1/2 x 27 1/4 Zoll, The Metropolitan Museum of Art, New York
"Frau, die vor einer Mauer weint" (1937), Radierung, Aquatinta und Spachtel, 13 5/8 × 9 5/8 Zoll, Los Angeles County Museum of Art, Los Angeles
"Frau, die vor einer Mauer weint" (1937), Radierung, Aquatinta und Spachtel, 13 5/8 × 9 5/8 Zoll, Los Angeles County Museum of Art, Los Angeles
"Andere haben gesehen, was ist, und gefragt, warum. Ich habe gesehen, was sein könnte, und gefragt, warum nicht." - Pablo Picasso

Zusätzliche Ressourcen

Pablo Picasso: Begründer des Kubismus wuchs in Armut auf | Biografie
Woher kam Pablo Picassos Genialität? | National Geographic
Pablo Picassos Sohn, Claude Picasso, Interview (1997)
Pablo Picasso bei der Arbeit in seinem Atelier in Vallauris, Frankreich (1949)

Bild-Galerie

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