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帕布洛·布卡多·布卡多恩(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.
手鼓女人1939图像尺寸 26 x 20 英寸/纸张尺寸 30 1/8 x 22 3/8 英寸（66.04 x 50.8 厘米(66.04 x 50.8 厘米)蚀刻和水印版画，阿切斯纸
种源
伦敦 Lumley Cazalet 有限公司
伦敦私人收藏，1999 年购自上述公司
巴黎 Piasa 拍卖行，德鲁奥酒店，9 号厅，1999 年 6 月 3 日星期四，155 号拍品（H.M. Petiet 版画拍卖目录）
私人收藏，购自上述作品，1999 年
伦敦佳士得2023年2月28日，星期二，第44号拍卖品
私人收藏，购自上述拍卖
文学
Bloch G (1968), Pablo Picasso: catalogue de l'oeuvre grave et lithographie, Editions Kornfeld.310
Baer B. & Geiser B (1986-1988)，《毕加索：严肃的画家》（Picasso: peintre graveur...更。。。, Editions Kornfeld (646.5Ba)
Mallen, Enrique, ed. 1997-2023.(OPP).在线毕加索项目。萨姆休斯顿州立大学 (39:005)
...少。。。
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"我画的是我所想的物体，而不是我所看到的物体"。- 巴勃罗-毕加索

历程

La femme au tambourin》（1939 年）是巴勃罗-毕加索最伟大的绘画作品之一。这幅作品部分借鉴了德加和普桑的作品，散发着浓郁的古典气息，同时又带有现代主义色彩。这幅作品被认为是毕加索当时的情人朵拉-玛尔（Dora Maar）的写照，深受机构和私人收藏家的青睐。该版本中的一幅作品被纽约现代艺术博物馆永久收藏，另一幅被华盛顿特区国家美术馆收藏。

毕加索的版画实验始于 20 世纪第一个十年，一直持续到 20 世纪 70 年代。在此期间，毕加索采用了多种版画制作方法，包括石版画、蚀刻、水印和油印。他最早的版画与本作品一样，都是凹版印刷。在《La femme au tambourin》这幅作品中，毕加索采用了水墨画这种额外的媒介，整个构图呈现出类似水彩画的效果，色调也极为丰富。这种技法为毕加索提供了在绘画中找不到的表现机会。毕加索的绘画作品以其实验性的范围和精湛的技艺，成为艺术史上最受推崇和梦寐以求的作品之一，可与伦勃朗相媲美。

  • 毕加索、多拉马尔和曼-雷
    多拉-马尔（右）在安提布与巴勃罗-毕加索的合影，曼-雷摄于 1937 年
  • 毕加索和朵拉-马尔
    巴勃罗和多拉-马尔，1940 年代
  • 毕加索在工作室
    1956 年，巴勃罗-毕加索在他的戛纳工作室。照片：Arnold Newman/Getty Images阿诺德-纽曼/盖蒂图片社
  • 纽约现代艺术博物馆
    巴勃罗-毕加索《手鼓女人》（La Femme au tambourin）（1939 年，1943 年出版），纽约现代艺术博物馆。 (1939 年，1943 年出版），纽约现代艺术博物馆，纽约
"艺术的目的是洗涤我们灵魂上日常生活的尘埃"。- 巴勃罗-毕加索

市场情报

  • 毕加索 AMR 3.1985-6.2023
    AMR 巴勃罗-毕加索市场图 3/1985 - 6/2023
  • 自 1985 年以来，毕加索作品的复合年增长率为 8.8%。
  • 这幅画的数量非常少，只有 30 幅，其中几幅已被博物馆收藏。
  • 20 世纪 50 年代后，毕加索变得更加多产。他在 60 和 70 年代极其多产的作品现在又创下了新的记录，而他在 30 和 40 年代的伟大作品则几乎无人问津。
  • La femme au tambourin》在毕加索这一时期的作品中排名前 15%。
  • 立体主义作品，即从 1907 年（大约）到 1920 年的作品，可以说是继蓝色和玫瑰时期作品之后最稀有的。新古典主义时期（20 世纪 30 年代战争时期至 40 年代末）的作品也不遑多让。

最佳拍卖结果

布面油画，45 x 57 1/2 英寸，纽约佳士得拍卖会：2015 年 5 月 11 日。

Les Femmes d'Alger》（"O "版）（1955 年）以 17936.45 万美元成交

布面油画，45 x 57 1/2 英寸，纽约佳士得拍卖会：2015 年 5 月 11 日。
布面油画，61 x 26 英寸，2018 年 5 月 8 日在纽约佳士得拍卖行售出。

"Fillette à la Corbeille Fleurie》（1905 年）以 1.15 亿美元售出

布面油画，61 x 26 英寸，2018 年 5 月 8 日在纽约佳士得拍卖行售出。
布面油画，64 x 51 1/4 英寸，于 2010 年 5 月 4 日在纽约佳士得拍卖行售出。

"裸体、绿叶和半身像"（1931年）以10648.25万美元成交

布面油画，64 x 51 1/4 英寸，于 2010 年 5 月 4 日在纽约佳士得拍卖行售出。
布面油画，39 1/2 x 32 英寸，2004 年 5 月 5 日在纽约苏富比拍卖行售出。

"Garçon à la pipe》（1905 年）以 1.04168 亿美元售出

布面油画，39 1/2 x 32 英寸，2004 年 5 月 5 日在纽约苏富比拍卖行售出。

拍卖会上售出的同类画作

"Le Repas Frugal"（1904 年），蚀刻版画和刮刀，18 1/4 x 14 3/4 英寸。 于 2022 年 3 月 1 日在伦敦佳士得拍卖行以 8,009,721 美元售出。
"Le Repas Frugal"（1904 年），蚀刻版画和刮刀，18 1/4 x 14 3/4 英寸。 于 2022 年 3 月 1 日在伦敦佳士得拍卖行以 8,009,721 美元售出。
"La Femme Qui Pleure I"（1937 年），干点、水印、蚀刻和刮刀，27 x 19 1/2 英寸。 2014 年 2 月 5 日在伦敦苏富比拍卖行以 5 247 839 美元售出。
"La Femme Qui Pleure I"（1937 年），干点、水印、蚀刻和刮刀，27 x 19 1/2 英寸。 2014 年 2 月 5 日在伦敦苏富比拍卖行以 5 247 839 美元售出。
"La Minotauromachie"（1935 年），蚀刻版画，19 1/2 x 27 英寸。于2014年11月4日在纽约苏富比拍卖行以240.5万美元售出。
"La Minotauromachie"（1935 年），蚀刻版画，19 1/2 x 27 英寸。于2014年11月4日在纽约苏富比拍卖行以240.5万美元售出。

博物馆收藏的版画

"手鼓女人（La Femme au tambourin）"（1939 年），蚀刻版画和水印版画，26 x 20 英寸，纽约现代艺术博物馆，纽约
"手鼓女人（La Femme au tambourin）"（1939 年），蚀刻版画和水印版画，26 x 20 英寸，纽约现代艺术博物馆，纽约
"手鼓女人（La Femme au tambourin）"（1939 年），蚀刻版画和水印版画，26 x 20 英寸，华盛顿特区国家美术馆。
"手鼓女人（La Femme au tambourin）"（1939 年），蚀刻版画和水印版画，26 x 20 英寸，华盛顿特区国家美术馆。
"La Minotauromachie"（1935 年），蚀刻版画，19 1/2 x 27 1/4 英寸，纽约大都会艺术博物馆，纽约
"La Minotauromachie"（1935 年），蚀刻版画，19 1/2 x 27 1/4 英寸，纽约大都会艺术博物馆，纽约
"墙前哭泣的女人"（1937 年），蚀刻版画、水印版画和刮刀，13 5/8 × 9 5/8 英寸，洛杉矶县艺术博物馆，洛杉矶
"墙前哭泣的女人"（1937 年），蚀刻版画、水印版画和刮刀，13 5/8 × 9 5/8 英寸，洛杉矶县艺术博物馆，洛杉矶
"别人看到了现在的情况，问为什么。我看到了可能是什么，并问为什么不是。- 巴勃罗-毕加索

其他资源

巴勃罗-毕加索：立体主义创始人的贫困成长经历 | 传记
巴勃罗-毕加索的天才从何而来？| 国家地理
巴勃罗-毕加索的儿子克劳德-毕加索，访谈（1997 年）
巴勃罗-毕加索在法国 Vallauris 工作室工作（1949 年）

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