ConsulteHISTORIACONOCIMIENTO DEL MERCADOPRINCIPALES RESULTADOS EN LAS SUBASTASOBRAS COMPARABLES VENDIDAS EN SUBASTASGRABADOS EN COLECCIONES DE MUSEOSRECURSOS ADICIONALESGALERÍA DE IMÁGENESOTRAS OBRAS DE PABLO PICASSOTAMBIÉN LE PUEDE GUSTAR
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PABLO PICASSO (1881-1973)

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"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.
La femme au tambourin1939tamaño de la imagen 26 x 20 pulg. / tamaño de la hoja 30 1/8 x 22 3/8 in.(66,04 x 50,8 cm) aguafuerte y aguatinta sobre papel Arches
Procedencia
Lumley Cazalet Ltd., Londres
Colección privada, Londres, adquirida a la anterior, 1999
Piasa Paris Auctioneers, Hotel Drouot, sala nº 9, jueves 3 de junio de 1999, lote 155 (catálogo de la venta de grabados H.M. Petiet)
Colección privada, adquirida en 1999
Christie's Londres: Martes, 28 de febrero de 2023, lote 44
Colección privada, adquirida en la venta anterior
Literatura
Bloch G (1968), Pablo Picasso: catalogue de l'oeuvre grave et lithographie, Editions Kornfeld. 310
Baer B. & Geiser B (1986-1988), Picasso: peintre graveur...Más....Ediciones Kornfeld (646,5Ba)
Mallen, Enrique, ed. 1997-2023. (OPP). Proyecto Picasso en línea. Sam Houston State University (39:005)
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"Pinto los objetos como los pienso, no como los veo". - Pablo Picasso

Historia

La femme au tambourin (1939) es una de las grandes obras gráficas de Pablo Picasso. Parcialmente basada en composiciones de Degas y Poussin, la obra destila una fuerte presencia clásica con un toque modernista. Se cree que representa a Dora Maar, amante de Picasso en aquella época, y es muy codiciada por coleccionistas institucionales y privados. Una impresión de esta edición forma parte de la colección permanente del Museo de Arte Moderno de Nueva York, y otra de la National Gallery of Art de Washington, D.C.

La experimentación de Picasso con el grabado comenzó en la primera década del siglo XX y se prolongó durante varias décadas, hasta los años setenta. Durante este tiempo, Picasso utilizó múltiples métodos de grabado, como la litografía, el aguafuerte, el aguatinta y la impresión con bloques de linóleo. Sus primeros grabados fueron, como la presente obra, calcográficos. Con La femme au tambourin, Picasso incorporó el medio adicional del aguatinta, que produjo un efecto similar a la acuarela en toda la composición y una gama extrema de calidades tonales. Esta técnica en particular ofrecía oportunidades de expresión que no podían encontrarse en la pintura. Por su alcance experimental y la profundidad de su maestría, la obra gráfica de Picasso es una de las más respetadas y codiciadas de la historia del arte, rivalizando con la de Rembrandt.

  • Picasso, Dorra Maar y Man Ray
    Foto de Dora Maar (a la derecha) junto a Pablo Picasso en Antibes por Man Ray, 1937
  • Picasso y Dora Maar
    Pablo y Dora Maar, años 40
  • Picasso en el estudio
    Pablo Picasso en su estudio de Cannes, 1956. Fotografía: Arnold Newman/Getty Images
  • Le Femme MoMA
    Pablo Picasso "Mujer con pandereta (La Femme au tambourin)" (1939, publicado en 1943), Museo de Arte Moderno de Nueva York
"El propósito del arte es lavar el polvo de la vida cotidiana de nuestras almas". - Pablo Picasso

CONOCIMIENTOS DEL MERCADO

  • Picasso AMR 3.1985-6.2023
    AMR Pablo Picasso gráfico de mercado 3/1985 - 6/2023
  • Desde 1985, la tasa de crecimiento anual compuesto de las obras de Picasso es del 8,8%.
  • Se trata de una edición increíblemente reducida, de sólo 30 impresiones, varias de las cuales ya forman parte de colecciones de museos.
  • Después de los años 50, Picasso se volvió mucho más prolífico. Sus obras de los extremadamente prolíficos años 60 y 70 están alcanzando nuevos récords, y sus grandes obras de los años 30 y 40 son prácticamente inencontrables.
  • La femme au tambourin se encuentra entre el 15% de las mejores obras de Picasso de este periodo.
  • Las obras cubistas, las que datan (aproximadamente) de 1907 a 1920, son posiblemente las más raras después de las del Periodo Azul y Rosa. Las obras de su periodo neoclásico (desde la guerra de los años treinta hasta finales de los cuarenta) no le van a la zaga.

Los mejores resultados en las subastas

Óleo sobre lienzo, 45 x 57 1/2 pulg, Vendido en Christie's Nueva York: 11 de mayo de 2015.

"Les Femmes d'Alger" (Versión 'O') (1955) vendida por 179.364.500 $.

Óleo sobre lienzo, 45 x 57 1/2 pulg, Vendido en Christie's Nueva York: 11 de mayo de 2015.
Óleo sobre lienzo, 61 x 26 pulgadas, Vendido en Christie's Nueva York: 08 de mayo de 2018.

"Fillette à la Corbeille Fleurie" (1905) vendida por 115.000.000 $.

Óleo sobre lienzo, 61 x 26 pulgadas, Vendido en Christie's Nueva York: 08 de mayo de 2018.
Óleo sobre lienzo, 64 x 51 1/4 pulg, Vendido en Christie's Nueva York: 04 de mayo de 2010.

"Desnudo, hojas verdes y busto" (1931) vendido por 106.482.500 dólares

Óleo sobre lienzo, 64 x 51 1/4 pulg, Vendido en Christie's Nueva York: 04 de mayo de 2010.
Óleo sobre lienzo, 39 1/2 x 32 pulg., Vendido en Sotheby's Nueva York: 05 de mayo de 2004.

"Garçon à la pipe" (1905) vendido por 104.168.000 dólares

Óleo sobre lienzo, 39 1/2 x 32 pulg., Vendido en Sotheby's Nueva York: 05 de mayo de 2004.

Pinturas comparables vendidas en subastas

"Le Repas Frugal" (1904), aguafuerte y raspador, 18 1/4 x 14 3/4 pulg. Vendido en Christie's Londres: 01 de marzo de 2022 por 8.009.721 dólares.
"Le Repas Frugal" (1904), aguafuerte y raspador, 18 1/4 x 14 3/4 pulg. Vendido en Christie's Londres: 01 de marzo de 2022 por 8.009.721 dólares.
"La Femme Qui Pleure I" (1937), punta seca, aguatinta, aguafuerte y raspador, 27 x 19 1/2 pulg. Vendido en Sotheby's Londres: 05 de febrero de 2014 por 5.247.839 dólares.
"La Femme Qui Pleure I" (1937), punta seca, aguatinta, aguafuerte y raspador, 27 x 19 1/2 pulg. Vendido en Sotheby's Londres: 05 de febrero de 2014 por 5.247.839 dólares.
"La Minotauromachie" (1935), aguafuerte y grabado, 19 1/2 x 27 pulg. Vendido en Sotheby's Nueva York el 4 de noviembre de 2014 por 2.405.000 dólares.
"La Minotauromachie" (1935), aguafuerte y grabado, 19 1/2 x 27 pulg. Vendido en Sotheby's Nueva York el 4 de noviembre de 2014 por 2.405.000 dólares.

Estampas en colecciones de museos

"Mujer con pandereta (La Femme au tambourin)" (1939), aguafuerte y aguatinta, 26 x 20 pulg., Museo de Arte Moderno, Nueva York
"Mujer con pandereta (La Femme au tambourin)" (1939), aguafuerte y aguatinta, 26 x 20 pulg., Museo de Arte Moderno, Nueva York
"Mujer con pandereta (La Femme au tambourin)" (1939), aguafuerte y aguatinta, 26 x 20 pulg., The National Gallery of Art, Washington, D.C.
"Mujer con pandereta (La Femme au tambourin)" (1939), aguafuerte y aguatinta, 26 x 20 pulg., The National Gallery of Art, Washington, D.C.
"La Minotauromachie" (1935), aguafuerte, 19 1/2 x 27 1/4 pulg., Museo Metropolitano de Arte, Nueva York
"La Minotauromachie" (1935), aguafuerte, 19 1/2 x 27 1/4 pulg., Museo Metropolitano de Arte, Nueva York
"Mujer llorando ante un muro" (1937), aguafuerte, aguatinta y raspador, 13 5/8 × 9 5/8 pulg., Museo de Arte del Condado de Los Ángeles, Los Ángeles
"Mujer llorando ante un muro" (1937), aguafuerte, aguatinta y raspador, 13 5/8 × 9 5/8 pulg., Museo de Arte del Condado de Los Ángeles, Los Ángeles
"Otros han visto lo que es y se han preguntado por qué. Yo he visto lo que podría ser y me he preguntado por qué no". - Pablo Picasso

Recursos adicionales

Pablo Picasso: el fundador del cubismo creció en la pobreza | Biografía
¿De dónde salió el genio de Pablo Picasso? | National Geographic
Claude Picasso, hijo de Pablo Picasso, entrevista (1997)
Pablo Picasso trabajando en su estudio de Vallauris, Francia (1949)

Galería de imágenes

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Consulta - Arte individual

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