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パブロ・ピカソ (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.
タンブランの女1939画像サイズ 26 x 20 in./ シートサイズ 30 1/8 x 22 3/8 in.(66.04 x 50.8 cm)エッチング、アクアチント、アルシュ紙
出所
ラムリー・カザレ社、ロンドン
プライベート・コレクション、ロンドン、1999年に上記より入手
1999年6月3日(木)、ピアサ・パリ・オークショニア、ホテル・ドルオ、ルームNo.9、ロット155(H.M.プティエット版画販売カタログ
プライベート・コレクション、上記より入手、1999年
クリスティーズ・ロンドン2023年2月28日(火)、ロット44
プライベートコレクション、上記セールより入手
文学
Bloch G (1968), Pablo Picasso: catalogue de l'oeuvre et lithographie, Editions Kornfeld.310
Baer B. & Geiser B (1986-1988), Picasso: peintre graveur.
...もっとその。。。エディション・コーンフェルド (646.5Ba)
マレン,エンリケ編 1997-2023.(OPP).オンライン・ピカソ・プロジェクト。サム・ヒューストン州立大学 (39:005)
...少ない。。。
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"私は見たままではなく、考えたままに物を描く"- パブロ・ピカソ

歴史

タンブランの女』(1939年)は、パブロ・ピカソの最も偉大なグラフィック作品のひとつである。ドガやプッサンの構図を部分的にもとにしたこの作品は、モダニズムのエッジを効かせながらも、強い古典的存在感を放っている。当時ピカソの恋人であったドラ・マールを描いたとされるこの版画は、団体や個人コレクターの垂涎の的となっている。この版からの1点はニューヨーク近代美術館のパーマネント・コレクションに、もう1点はワシントンDCのナショナル・ギャラリーに収蔵されている。

ピカソの版画の試みは20世紀の最初の10年間に始まり、1970年代まで何十年にもわたって彼を夢中にさせた。この間、ピカソはリトグラフ、エッチング、アクアチント、リノリウム版画など、複数の版画技法を取り入れた。初期の版画は、本作と同じく凹版画であった。ピカソは《タンブランの女》でアクアチントという新たな技法を取り入れ、構図全体に水彩画のような効果をもたらし、色調の幅を極端に広げた。この技法は特に、絵画にはない表現の機会を与えてくれた。ピカソのグラフィック作品群は、その実験的な到達点と熟達の深さにおいて、レンブラントに匹敵するほど、美術史上最も高く評価され、切望されている。

  • ピカソ、ドーラ・マール、マン・レイ
    アンティーブでパブロ・ピカソの隣に写るドラ・マール(右)、マン・レイ作、1937年
  • ピカソとドラ・マール
    パブロとドラ・マール、1940年代
  • スタジオでのピカソ
    カンヌのアトリエでのパブロ・ピカソ、1956年。写真:Arnold Newman/Getty Imagesアーノルド・ニューマン/ゲッティ イメージズ
  • パブロ・ピカソ "タンバリンを持つ女(La Femme au tambourin)" (1939年、1943年出版)ニューヨーク近代美術館蔵
"芸術の目的は、私たちの魂から日常生活のほこりを洗い流すことである"- パブロ・ピカソ

マーケットインサイト

  • AMR パブロ・ピカソ マーケットグラフ 1985年3月~2023年6月
  • 1985年以降、ピカソ作品の年平均成長率は8.8%である。
  • これはわずか30枚という信じられないほど小さなエディションで、そのうちの数枚はすでに美術館に収蔵されている。
  • 1950年代以降、ピカソはより多作になった。非常に多作だった60年代と70年代の作品は現在、新記録を達成しつつあり、1930年代と40年代の大作は事実上、入手不可能となっている。
  • La femme au tambourin』は、この時期のピカソ作品の上位15%に入る。
  • キュービズムの作品は、(おおよそ)1907年から1920年までのもので、ブルーとローズの時代の作品に次いで、間違いなく最も希少である。新古典主義時代(1930年代の戦時中から1940年代後半まで)の作品も、それに遠く及ばない。

オークションでの上位成績

「Les Femmes d'Alger」(バージョン'O')(1955年)が1億7,936万4,500ドルで落札された。

キャンバスに油彩、45 x 57 1/2インチ、クリスティーズ・ニューヨークで落札:2015年5月11日。

「Fillette à la Corbeille Fleurie"(1905年)が115,000,000ドルで落札された。

キャンバスに油彩、61 x 26インチ、クリスティーズ・ニューヨークで落札:2018年5月8日。

「ヌード、緑の葉と胸像」(1931年)1億648万2500ドルで落札

キャンバスに油彩、64 x 51 1/4インチ、クリスティーズ・ニューヨークにて2010年5月4日販売。

「パイプを持つギャルソン」(1905年)、1億4168万8000ドルで落札

キャンバスに油彩、39 1/2 x 32インチ、サザビーズ・ニューヨークにて2004年5月5日販売。

オークションで落札された類似の絵画

「Le Repas Frugal」(1904年)、エッチング、スクレーパー、18 1/4×14.3/4インチ。クリスティーズ・ロンドンにて2022年3月1日、8,009,721ドルで落札。
"La Femme Qui Pleure I"(1937)、ドライポイント、アクアチント、エッチング、スクレーパー、27 x 19 1/2インチ。 サザビーズ・ロンドンにて2014年2月5日、5,247,839ドルで落札。
「ラ・ミノタウロマチー」(1935年)、エッチング、エングレーヴィング、19 1/2×27インチ。2014年11月4日、サザビーズ・ニューヨークにて$2,405,000で落札。

美術館所蔵の版画

「タンバリンを持つ女(La Femme au tambourin)」(1939年)エッチング、アクアチント、26×20インチ、ニューヨーク近代美術館蔵
「タンバリンを持つ女(La Femme au tambourin)」(1939年)、エッチング、アクアチント、26×20インチ、ナショナル・ギャラリー、ワシントンD.C.。
「ラ・ミノタウロマチー」(1935年)、エッチング、19 1/2 x 27 1/4インチ、メトロポリタン美術館、ニューヨーク
「壁の前で泣く女」(1937年)、エッチング、アクアチント、スクレーパー、13 5/8 × 9 5/8インチ、ロサンゼルス郡立美術館、ロサンゼルス
"他の人は現状を見て理由を尋ねた。私は可能性のあるものを見て、なぜそうしないのかと尋ねた"- パブロ・ピカソ

追加リソース

パブロ・ピカソ:キュビスムの創始者 貧困の中で育つ|伝記
パブロ・ピカソの天才はどこから来たのか?| ナショナル ジオグラフィック
パブロ・ピカソの息子、クロード・ピカソ、インタビュー(1997年)
フランス、ヴァロリスのアトリエで制作中のパブロ・ピカソ(1949年)

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