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'Whenever I have something to say, I have said it in a manner in which it ought to be said. Different motives require different methods of expression. This does not imply either evolution or progress, but an adaptation of the idea one wants to express, and the means to express that idea.' (P. Picasso, The Arts, New York, 1923) At the age of 78 a peculiar mixture of geographic necessity and artistic curiosity led Picasso to turn away from etching and lithography, hitherto his favourite means of graphic expression, and take up linocutting, a technique he had all but ignored. Although linocuts were to form a relatively small part of Picasso's output as a printmaker (approximately 150 images from a total exceeding 2,000), he was to produce some of his most outstanding compositions by this method, in a short burst of activity from 1958 to 1963. Picasso left Paris with Jacqueline Rocque in 1958 and moved permanently to the South of France, dividing his time between his villa La Californie at Cannes, and the newly acquired Château de Vauvenargues, near Aix-en-Provence. Up to this point Picasso's involvement with linocutting had been rather casual. He produced a series of simple posters for the village of Vallauris above Cannes, starting with La Chèvre (Bloch 1257) in 1952. Six years later, he embraced it eagerly. Working with a young printer from Vallauris, Hidalgo Arnéra, he attacked an interpretation of Lucas Cranach the Younger's Portrait of a Young Girl. The result was astonishing, given Picasso's relative inexperience, but he found the exercise deeply frustrating because of difficulties in registering six different blocks precisely, one on top of the other. As a result of this frustration Picasso simply re-invented the technique of linocutting. Rather than use separate blocks, he printed from just one; the so-called 'reduction' method. Before Picasso abandoned the linocut process in 1963, he produced a group of prints which has come to be known as épreuves rincées (rinsed proofs). They were made by printing the linoblock in creamy white ink, then brushing the image with Encre de Chine. Once this had dried he would rinse the print with water. Where the ink sat on top of the printed surface it would be washed away, whereas in the blank spaces the ink had been absorbed into the paper, and would therefore remain. The result was, in effect, a negative of the original composition. The following four lots were made using this method from existing linocut blocks which had originally been printed as part of the editions of fifty, published by Galerie Louise Leiris in 1960. They were gifts from the artist to the Italian actress Lucia Bosé. Both she and her husband, the legendary matador Luis Miguel Dominguín, were close friends of Picasso, spending holidays at the artist's villa in Cannes where the two families clearly delighted in each others' company. PROPERTY FROM THE COLLECTION OF LUCIA BOSÉ

Pablo Picasso

Picador et Torero attendant le Paseo de Cuadrillas (B. 906; Ba. 1231 IIC)

细节

Pablo Picasso
Picador et Torero attendant le Paseo de Cuadrillas (B. 906; Ba. 1231 IIC)
linocut rincé in black and white, 1959, on Arches, one of only one or two impressions, signed, dedicated Para Lucia and dated 13.7.64. in ink, with margins, the inscriptions attenuated, pale light-staining, mount staining, mostly at the sheet corners, remains of hinging tape at the sheet edges verso, otherwise in good condition, framed
B. 529 x 640 mm., S. 620 x 750 mm.

来源

A gift from the artist to Lucia Bosé.

注意事项

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