✿
Pablo Picasso
파블로 피카소
(Spanishㅣ1881–1973ㅣaged 91)
Movement: Cubism, Surrealism
● Museo Picasso Málaga Collection
▷Museo Picasso Málaga
Christine Ruiz-Picasso
크리스틴 루이즈 피카소
(며느리. daughter-in-law)
Bernard Ruiz-Picasso
베르나르드 루이즈 피카소
(손자. Picasso's grandson)
<Mother and Child>
▷Museo Picasso Málaga
[▷FABA] Fundación Almine y
Bernard Ruiz-Picasso para el Arte
Christine Ruiz-Picasso
크리스틴 루이즈 피카소
(며느리. daughter-in-law)
Bernard Ruiz-Picasso
베르나르드 루이즈 피카소
(손자. Picasso's grandson)
Fontainebleau퐁텐블로, 1921
Oil on canvas , 162 x 97 cm
Private collection.
Courtesy Fundación Almine y
Bernard Ruiz-Picasso para el Arte [FABA]
Zervos, vol. VI, 1392
Paul, known as Paulo,
Olga and Picasso’s son, :) was
born in Paris on 4 February 1921.
퐁텐블로에 머물던 1921-23년, 피카소는
어릴적 Bateau Lavoir (바토 라부아르)에서
어머니와 함께 했던 기억을 회상하면서
모성애를 주제로 한 그림에 열중했어요.
아버지가 된 기쁨과 행복감에 젖어
설레는 마음으로 작업했을 거예요.
이후 드로잉과 페인팅에
아들 Paulo를 자주 등장시켰어요.
Olga’s face, perfectly recognizable
in the drawings, has become thickened
and depersonalized, and her body has
metamorphosed into a colossal figure,
reminiscent of the Greco-Roman statues
he observed during a trip made to
Italy (1917), and reflecting the changes
to Olga’s body during pregnancy.,
Picasso’s method of pictorial manipulation,
based on a combined study of models,
drawings and photography, brings to mind
synthetic Cubism’s 아상블라주(▷assemblage)
and juxtaposition of disparate elements.
母子의 형상은 실물과 다양한 매체(photograph,
sketch, drawing)들을 바탕으로 제작하면서도
세부묘사와 배경은 과감히 생략했어요.
올가는 엄마라고 하기에는 아직 앳되 보이죠.
임신으로 거대하게 표현한 몸체,
바닥까지 늘어뜨린 회색빛 옷자락,
소녀감성은 묻혀져 버렸지만
대신 자애로움으로 물든 낯빛은 관람자의
시선을 압도하기에 부족함이 없어 보여요.
(the young woman is transformed
into an allegory of the Virgin Mary.)
Picasso admired Renoir (whose death
in December 1919 was commemorated with
a large retrospective the following year),
and some of the works he exhibited
at Rosenberg’s gallery (▷Paul Rosenberg)
in October 1919 were ‘in the style of Renoir’.
Almost certainly Renoir’s nudes, one of which
Picasso owned, are the inspiration for the
monumental size of the figures, the use of
pinks mixed with whites, and the thick and
abbreviated technique used in Mother and Child.
The sense of relief is even more pronounced
through the sustained use of shades of black,
which deepens the shadows and accentuates
the volumes, and the multiple viewpoints,
a technique learnt from Cézanne.
Paul, known as Paulo,
Olga and Picasso’s son, :) was
born in Paris on 4 February 1921.
퐁텐블로에 머물던 1921-23년, 피카소는
어릴적 Bateau Lavoir (바토 라부아르)에서
어머니와 함께 했던 기억을 회상하면서
모성애를 주제로 한 그림에 열중했어요.
아버지가 된 기쁨과 행복감에 젖어
설레는 마음으로 작업했을 거예요.
이후 드로잉과 페인팅에
아들 Paulo를 자주 등장시켰어요.
Olga’s face, perfectly recognizable
in the drawings, has become thickened
and depersonalized, and her body has
metamorphosed into a colossal figure,
reminiscent of the Greco-Roman statues
he observed during a trip made to
Italy (1917), and reflecting the changes
to Olga’s body during pregnancy.,
Picasso’s method of pictorial manipulation,
based on a combined study of models,
drawings and photography, brings to mind
synthetic Cubism’s 아상블라주(▷assemblage)
and juxtaposition of disparate elements.
母子의 형상은 실물과 다양한 매체(photograph,
sketch, drawing)들을 바탕으로 제작하면서도
세부묘사와 배경은 과감히 생략했어요.
올가는 엄마라고 하기에는 아직 앳되 보이죠.
임신으로 거대하게 표현한 몸체,
바닥까지 늘어뜨린 회색빛 옷자락,
소녀감성은 묻혀져 버렸지만
대신 자애로움으로 물든 낯빛은 관람자의
시선을 압도하기에 부족함이 없어 보여요.
(the young woman is transformed
into an allegory of the Virgin Mary.)
Picasso admired Renoir (whose death
in December 1919 was commemorated with
a large retrospective the following year),
and some of the works he exhibited
at Rosenberg’s gallery (▷Paul Rosenberg)
in October 1919 were ‘in the style of Renoir’.
Almost certainly Renoir’s nudes, one of which
Picasso owned, are the inspiration for the
monumental size of the figures, the use of
pinks mixed with whites, and the thick and
abbreviated technique used in Mother and Child.
The sense of relief is even more pronounced
through the sustained use of shades of black,
which deepens the shadows and accentuates
the volumes, and the multiple viewpoints,
a technique learnt from Cézanne.
<Woman with Raised Arms/ Paris, 1936>
Oil, charcoal and sand on canvas, 50 x 61 cm
Museo Picasso Málaga
(Gift of Bernard Ruiz-Picasso)
Picasso met the photographer Dora Maar
in the early summer of 1936, and
she soon became his constant companion.
Her dark cropped hair flows from behind
her head, as if she were reclining and
the artist were painting her from above.
She is wearing a blue flowered dress, and
her long eyelashes and prominent chin
are unmistakable in the combined
frontal and profile view of the face.
Her long, pointed fingernails are also
keys to her identity in the artist’s work .
Although Picasso and Maar had been
holidaying among friends in Mougins,
the outbreak of war in Spain in July 1936
strongly affected the artist’s mood.
While Woman with Raised Arms celebrates
the presence of a new love in Picasso’s life,
the upward-reaching arms with gesturing hands
and the sense of wild movement also bring
a new intensity to his work, anticipating
the emotion-filled portrayals of Maar
as a weeping woman in the following year.
Picasso met the photographer Dora Maar
in the early summer of 1936, and
she soon became his constant companion.
Her dark cropped hair flows from behind
her head, as if she were reclining and
the artist were painting her from above.
She is wearing a blue flowered dress, and
her long eyelashes and prominent chin
are unmistakable in the combined
frontal and profile view of the face.
Her long, pointed fingernails are also
keys to her identity in the artist’s work .
Although Picasso and Maar had been
holidaying among friends in Mougins,
the outbreak of war in Spain in July 1936
strongly affected the artist’s mood.
While Woman with Raised Arms celebrates
the presence of a new love in Picasso’s life,
the upward-reaching arms with gesturing hands
and the sense of wild movement also bring
a new intensity to his work, anticipating
the emotion-filled portrayals of Maar
as a weeping woman in the following year.
<Jacqueline Seated/ Paris 1954>
Oil on canvas , 146 x 114 cm
Museo Picasso Málaga
(Gift of Christine Ruiz-Picasso)
Picasso and his future wife Jacqueline Roque
(▷재클린 로크) met in 1952 at the factory,
where she was working in the shop, and
his earliest portraits of her date from 1954.
In the first two weeks of October he began
a series of colourful portraits of his new muse,
including Jacqueline Seated.
The placement of the seated Jacqueline
in front of three bands of colour–
red for the ground or floor,
yellow for the space behind her, and
blue for the sky above— suggest that she is
out of doors in the sunny Mediterranean,
although the work was painted in Paris.
At the same time, Picasso was surely
thinking about his dying friend Matisse,
who typically set the women in his
painting against broad areas of flat colour.
Picasso and his future wife Jacqueline Roque
(▷재클린 로크) met in 1952 at the factory,
where she was working in the shop, and
his earliest portraits of her date from 1954.
In the first two weeks of October he began
a series of colourful portraits of his new muse,
including Jacqueline Seated.
The placement of the seated Jacqueline
in front of three bands of colour–
red for the ground or floor,
yellow for the space behind her, and
blue for the sky above— suggest that she is
out of doors in the sunny Mediterranean,
although the work was painted in Paris.
At the same time, Picasso was surely
thinking about his dying friend Matisse,
who typically set the women in his
painting against broad areas of flat colour.
<Acrobat / Paris,1930>
Oil on panel , 69 x 59 cm
Dated on verso: 19-I-XXX
Private collection.
Courtesy Fundación Almine y
Bernard Ruiz-Picasso para el Arte.
Zervos, vol. VII, 308
<Insect/ Vallauris, 1951>
White earthenware(도기 陶器),
painted with slips and oxides, incised.
42 x 35 x 26 cm
Museo Picasso Málaga
(Gift of Bernard Ruiz-Picasso)
painted with slips and oxides, incised.
42 x 35 x 26 cm
Museo Picasso Málaga
(Gift of Bernard Ruiz-Picasso)
<Mosketeer with Sword >
Vauvenargues o ▷Mougins, 1972
(보브나르그 & ▷무젱, 프랑스)
Oil on canvas , 116 x 89 cm
Museo Picasso Málaga
(Gift of Bernard Ruiz-Picasso)
(보브나르그 & ▷무젱, 프랑스)
Oil on canvas , 116 x 89 cm
Museo Picasso Málaga
(Gift of Bernard Ruiz-Picasso)
Oil on canvas , 96.7 x 130 cm
Museo Picasso Málaga
(Gift of Christine Ruiz-Picasso)
Museo Picasso Málaga
(Gift of Christine Ruiz-Picasso)
<Still Life with Skull and Three Sea Urchins ^^*>
Paris, 6 January 1947
Oil on canvas , 60 x 72.5 cm
Museo Picasso Málaga
(Gift of Christine Ruiz-Picasso )
Oil on canvas , 60 x 72.5 cm
Museo Picasso Málaga
(Gift of Christine Ruiz-Picasso )
------
● Related Auction Results
● Related Auction Results
Terre de faïence pitcher partially
glazed in colors, 1955, a variant,
from the edition of 100, inscribed
'Edition Picasso', with the d'Apres Picasso
and Edition Picasso stamps
height: 332 mm 13 1/8 in
Upcoming l ▷Sotheby`s NewYork 2016
Est. 10,000 - 15,000 USD
<Tête de femme 1940>
signed 'Picasso' (lower left)
and dated '3.3.40.' (center right)
oil on paper laid down on canvas
25 3/8 x 18 in. (64.5 x 45.7 cm.)
Picasso painted this radically deconstructed
visage(face) of Dora Maar on 3 March 1940
in Royan(로얀), the seaside town on the
Atlantic coast where he, Dora(▷도라 마르),
his secretary Jaime Sabartésand his wife,
together with his dog *Kasbek,
had taken refuge since 3 September 1939,
during the early months of the Second World War.
Photographer unknown.
( Kabul , Lump the Dachshund..)
피카소는 강아지랑 찍은 사진이 많아요.▷Lump는 작품에도 자주 등장해요
-----
<Le homard dans un panier>
Lobster in a basket ^^*
signed 'Picasso' (upper left)
dated 'Dimanche 10.1.65.' (on the reverse)
oil on canvas, 89 x 115.8 cm.
Painted on 10 January 1965
Provenance: *Galerie Louise Leiris
(▷Daniel-Henry Kahnweiler칸바일러), Paris.
Exhibited: Dallas Museum of Art
(on loan, August 1993- 1999)
The blue European lobster, homarus gammarus,
is the most visually elaborate and significantly
characterful of all the marine creatures
that appear in Picasso’s late still lifes, in works
painted while he lived by the Mediterranean
following the end of the Second World War.
▷Christie`s NY 2015
Price Realised 2,165,000USD
oil on panel, 81.4 x 60.8 cm
Signed "Picasso" left corner
dated "6.2. 68." left center.
Provenance :Galerie Louise Leiris, Paris.
Exhibited:Geneva, Musée d'Art Moderne, Picasso
Est. $2,000,000 - 3,000,000
SOLD FOR $2,629,000
The complete bound volume with 66 etchings
and five additional drawings in ink,
on Richard-de-Bas laid paper watermark
La Celestine, with full margins,
with text by Fernando de Rojas,
slip case 22.5 x 18.6 x 4.4 cm
book 21.9 x 17.8 x 4.1 cm
La Tragicomedia de Calisto y Melibea,
known by the title La Celestina,
is a dramatized novel in 21 acts,
attributed to Fernando de Rojas
(페르난도 드 로자스), who
published it in Burgos, Spain in 1499.
Because of its lovely prose dialogue,
its well-developed characters, and its
striking description of the mores of Spain
at the time of the Catholic kings - that
is during the transition period between
the Middle Ages and the Renaissance -
La Celestina is one of the
major works in Spanish literature.
The etchings done for La Célestine
are part of the famous 347 Series.
Between March 16 and October 5, 1968,
Picasso worked on the plates almost daily, using
various techniques and sometimes the same plate.
Provenance
Gift of the artist to the present owner
▷Phillips NewYork 2015
Est. $80,000 - 120,000
SOLD FOR $106,250
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♥
