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<div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div>
<div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div>
My Children in Brittany II 1974 גודל תמונה: 26 x 19 5/8 אינץ' גודל הדפסה: 29.75x 21.75 (75.57 x 55.25 ס"מ) ליטוגרפיה צבעונית
מקור ומקור
אוסף פרטי, נרכש במכירה פומבית

אנו זוכרים את פרנסואז גילות על רוחה הבלתי ניתנת לניתוק וחוסנה, האישה היחידה עם האומץ והנחישות לעזוב את פבלו פיקאסו. עם זאת, מלבד הקשר שלה עם פיקאסו, החזון שלה כאמנית יציב בסופו של דבר את עבודתה בהקשר אמנותי מתאים של המאה העשרים. הטיפולים הפיגורטיביים שלה, החובקים הרמוניות טונאליות עדינות המשולבות במשחק גומלין אורגני של צורות, עומדים על יתרונותיהם. "הילדים שלי בבריטני השנייה", ליטוגרפיה משנת 1974, היא דיוקן מקסים של שלושת ילדיה, קלוד, פלומה ואאורליה. זה מדגים את יכולתה לסנתז אך להתעלות מעל השפעותיה וליצור נרטיב המגיב באופן ייחודי למשפחה, לאמהות ולחיים.  
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