גב

פבלו פיקאסו(1881-1973)

 
"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 tambourin1939 גודל תמונה 26 x 20 אינץ' / גודל גיליון 30 1/8 x 22 3/8 אינץ'(66.04 x 50.8 ס"מ) תחריט ואקווטינט על נייר קשתות
מקור ומקור
חוות דעת על Lumley Cazalet Ltd. , לונדון
אוסף פרטי, לונדון, נרכש מהנ"ל, 1999
Piasa Paris Auctioneers, Hotel Drouot, חדר מס' 9, יום חמישי, 3 ביוני 1999, פריט 155 (קטלוג מכירת הדפוס של H.M. Petiet)
אוסף פרטי, נרכש מהנ"ל, 1999
כריסטי'ס לונדון: יום שלישי, 28 בפברואר 2023, פריט 44
אוסף פרטי, שנרכש מהמכירה הנ"ל
ספרות
בלוך ג (1968), פבלו פיקאסו: קטלוג הקבר והליטוגרפיה, מהדורות קורנפלד. 310
Baer B. & Geiser B (1986-1988), פיקאסו: peintre graveur
... עוד...מהדורות קורנפלד (646.5Ba).,
מאלן, אנריקה, עורך. 1997-2023. (OPP). פרויקט פיקאסו מקוון. אוניברסיטת סם יוסטון סטייט (39:005)
... פחות...
לברר

"אני מצייר חפצים כמו שאני חושב עליהם, לא כמו שאני רואה אותם." – פבלו פיקאסו

היסטוריה

La femme au tambourin (1939) היא אחת מיצירותיו הגרפיות הגדולות ביותר של פבלו פיקאסו. היצירה, המבוססת בחלקה על יצירות מאת דגה ופוסן, משדרת נוכחות קלאסית חזקה עם קצה מודרניסטי. ההדפס, שנחשב לתיאור של דורה מאר, אהובתו של פיקאסו באותה תקופה, נחשק מאוד על ידי אספנים מוסדיים ופרטיים. רושם אחד ממהדורה זו נכלל באוסף הקבוע של המוזיאון לאמנות מודרנית, ניו יורק, ורושם אחר נכלל בגלריה הלאומית לאמנות, וושינגטון הבירה.

ניסיונותיו של פיקאסו בהדפס החלו בעשור הראשון של המאה ה-20 והעסיקו אותו במשך עשורים רבים, עד שנות השבעים. בתקופה זו, פיקאסו אימץ שיטות רבות של הדפס, כולל ליתוגרפיה, תחריט, אקוונטינט והדפסת בלוקים לינוליאום. הדפסיו המוקדמים ביותר היו, כמו העבודה הנוכחית, אינטגליו. עם La femme au tambourin, פיקאסו שילב את המדיום הנוסף של קו המשווה, שהניב אפקט דמוי צבעי מים לאורך כל הקומפוזיציה וטווח קיצוני של איכויות טונאליות. טכניקה זו במיוחד אפשרה הזדמנויות ביטוי שלא ניתן היה למצוא בציור. בזכות טווח ההגעה הניסיוני שלו ועומק השליטה שלו, קורפוס העבודה הגרפית של פיקאסו הוא בין המוערכים והנחשקים ביותר בתולדות האמנות, ומתחרה בזה של רמברנדט.

  • פיקאסו, דורה מאר ומאן ריי
    תמונה של דורה מאר (מימין) ליד פבלו פיקאסו באנטיב מאת מאן ריי, 1937
  • פיקאסו ודורה מאר
    פבלו ודורה מאר, שנות ה-40
  • פיקאסו בסטודיו
    פבלו פיקאסו בסטודיו שלו בקאן, 1956. צילום: Arnold Newman/Getty Images
  • פבלו פיקאסו "אישה עם טמבורין (La Femme au tambourin)" (1939, פורסם ב-1943), המוזיאון לאמנות מודרנית, ניו יורק
"מטרת האמנות היא לשטוף את אבק חיי היומיום מנשמותינו" – פבלו פיקאסו

תובנות שוק

  • גרף שוק AMR פבלו פיקאסו 3/1985 – 6/2023
  • מאז 1985 שיעור הצמיחה השנתי המורכב של יצירות פיקאסו הוא 8.8%.
  • זוהי מהדורה קטנה להפליא של 30 הופעות בלבד, שכמה מהן כבר נמצאות באוספי המוזיאון.
  • לאחר 1950, פיקאסו הפך הרבה יותר פורה. יצירותיו משנות ה-60 וה-70 הפוריות ביותר משיגות כעת שיאים חדשים, ויצירותיו הגדולות משנות ה-30 וה-40 כמעט בלתי ניתנות להשגה.
  • La femme au tambourin הוא בין 15% העליון של יצירות פיקאסו מתקופה זו.
  • יצירות קוביסטיות, אלה מ-1907 עד 1920 (בערך), הן ללא ספק הנדירות ביותר אחרי יצירות מהתקופה הכחולה והוורודה. יצירות מהתקופה הניאו-קלאסית שלו (תקופת המלחמה של שנות ה-30 ועד סוף שנות ה-40) נמצאות לא הרחק מאחור.

תוצאות מובילות במכירות פומביות

Les Femmes d'Alger (גרסה O) (1955) נמכר ב-$179,364,500

שמן על בד, 45X57 1/2 אינץ', נמכר בכריסטי'ס ניו יורק: 11 במאי 2015.

"Fillette à la Corbeille Fleurie" (1905) נמכר ב-$115,000,000

שמן על בד, 61X26 אינץ', נמכר בכריסטי'ס ניו יורק: 08 במאי 2018.

"עירום, עלים ירוקים וחזה" (1931) נמכר ב-$106,482,500

שמן על בד, 64 x 51 1/4 אינץ', נמכר בכריסטי'ס ניו יורק: 04 מאי 2010.

"Garçon à la pipe" (1905) נמכר ב-$104,168,000

שמן על בד, 39 1/2 x 32 אינץ', נמכר בסותבי'ס ניו יורק: 05 במאי 2004.

ציורים דומים שנמכרו במכירות פומביות

"Le Repas Frugal" (1904), תחריט ומגרד, 18 1/4 x 14 3/4 אינץ '. נמכר בכריסטי'ס לונדון: 01 במרץ 2022 תמורת $8,009,721.
"La Femme Qui Pleure I" (1937), נקודה יבשה, משווה, תחריט ומגרד, 27 x 19 1/2 אינץ '. נמכר בסותבי'ס לונדון: 05 בפברואר 2014 תמורת $5,247,839.
"La Minotauromachie" (1935), תחריט וחריטה, 19 וחצי x 27 אינץ' נמכר בסותבי'ס ניו יורק: 04 בנובמבר, 2014 תמורת $2,405,000.

הדפסים באוספי המוזיאון

"אישה עם טמבורין (La Femme au tambourin)" (1939), תחריט ומשווה, 26X20 אינץ', המוזיאון לאמנות מודרנית, ניו יורק
"אישה עם טמבורין (La Femme au tambourin)" (1939), תחריט ומשווה, 26X20 אינץ', הגלריה הלאומית לאמנות, וושינגטון די.סי.
"La Minotauromachie" (1935), תחריט, 19 1/2 x 27 1/4 אינץ', מוזיאון המטרופוליטן לאמנות, ניו יורק
"אישה בוכה לפני קיר" (1937), תחריט, אקוונטינט ומגרד, 13 5/8 × 9 5/8 אינץ', מוזיאון האמנות של מחוז לוס אנג'לס, לוס אנג'לס
"אחרים ראו מה כן ושאלו למה. ראיתי מה יכול להיות ושאלתי למה לא." – פבלו פיקאסו

משאבים נוספים

פבלו פיקאסו: מייסד הקוביזם גדל בעוני | ביוגרפיה
מאיפה הגיעה הגאונות של פבלו פיקאסו? | נשיונל ג'יאוגרפיק
בנו של פבלו פיקאסו, קלוד פיקאסו, ראיון (1997)
פבלו פיקאסו בעבודה בסטודיו שלו בוואלוריס, צרפת (1949)

לברר

בקשה - סינגל אמנותי

יצירות אחרות של פבלו פיקאסו

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