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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

tamaño de la imagen 26 x 20 pulg. / tamaño de la hoja 30 1/8 x 22 3/8 in.

aguafuerte y aguatinta sobre papel Arches

Las figuras de Nues se desarrollan libremente en torno a una figura central de odalisca de una manera que sugiere un tema que ocupaba a Picasso ya en 1906, el de las indulgencias femeninas en un entorno de harén. Al describir sus últimos dibujos, Picasso señaló que "uno nunca sabe lo que va a salir, pero en cuanto el dibujo se pone en marcha, nace una historia o una idea... Me paso hora tras hora mientras dibujo, observando a mis criaturas y pensando en las locuras que hacen... Es muy divertido, créeme". Nues es una evocación de esa apreciación, un retozo libre como sólo Picasso puede lograr. Entre las muchas poses, la figura abreviada nadando en la piscina es especialmente encantadora.

11 1/2 in x 19 in

lápiz sobre papel

Picasso scholars widely consider "Gros oiseau corrida" (1953) as one of the finest ceramic editions by the artist. The commanding presence and choice of subject matter show that the work held a deeply personal meaning for the artist. <br><br>Picasso's self-imposed exile from Franco-controlled Spain left an unquenched internal longing for his homeland. It was through the artist's depiction of the Spanish "Corrida," or bullfight, that Picasso could return to his native culture and traditions. The earthenware material used in the creation of this work is symbolic of the soil and raw earth of the Spanish countryside. Additionally, the avian vessel was a special theme for Picasso, who would often utilize the bird-like shape of ceramics. Picasso learned to paint birds as a child from his pigeon-breeding father, and as an adult, he had many pet birds.<br><br>The bohemian coastal setting of Vallauris became a refuge for Picasso, a place where he could escape his celebrity status in Paris. While working with Suzanne and Georges Ramié of the Madoura workshop in Vallauris, Picasso produced over 600 works. These works, created over a twenty-year period, are now ensconced in the canon of art history. Comparable Picasso ceramics can be found in prominent Museum collections worldwide.

Gros oiseau corrida

22 1/4 x 18 x 15 pulg.

jarrón de barro

PABLO PICASSO - Buste au Corsage à Carreaux - litografía - 24 1/2 x 18 3/4 in.

Buste au Corsage à Carreaux

24 1/2 x 18 3/4 pulg.

PABLO PICASSO - Femme assise en pyjama de plage - linocut - 21 1/2 x 17 in.

Mujer en pijama de playa

21 1/2 x 17 in.

PABLO PICASSO - La Danse - Plato de cerámica blanca, parcialmente grabado, con engobe y esmalte de color - 12 1/2 x 15 in.

12 1/2 x 15 in.

plato de cerámica blanca, parcialmente grabado, con engobe y esmalte de color

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