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Femme assise dans un fauteuil sur fond blanc
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À propos de l'objet

what Picasso understood by monochrome was the use of a single color and its nuances, with any values one wished to ascribe to these. Carmen Giménez in Picasso Black and White (exhibition catalogue), The Solomon R. Guggenheim Museum, New York & The Museum of Fine Arts, Houston, 2012-13, p. 27\n'Je vois souvent une lumière et une ombre.'\nPablo Picasso\nDating from March 1953, Femme assise dans un fauteuil sur fond blanc was painted during the time when Picasso was living in the south of France with Françoise Gilot (fig. 2) and their two children, Claude and Paloma. Picasso met Françoise in May 1943, during his tumultuous relationship with Dora Maar, and in 1946 that they settled in Vallauris. The period that followed was marked by great personal fulfilment, during which Picasso was, probably more than at any other time, devoted to his family, and this happiness in private life spilled into the artists work, resulting in a number of portraits of his muse and their children.\nGilot was forty years Picassos junior and was herself a painter, and her youthful spirit and interest in art not only inspired Picasso, but also encouraged a new direction in his portraiture. The majority of his depictions of Françoise, with her hair in the characteristic chignon, are infused with a calm elegance and poise. The present work, however, was painted only several months before the breakup of their relationship, as Françoise would leave Picasso in September 1953 and move with the children to Paris. Although executed months before these events that would cause Picasso much suffering, Femme assise dans un fauteuil sur fond blanc demonstrates a stylistic shift that may indicate a decline in their relationship, as well as an early appearance of a new woman in the artists life. The tranquil and domestic atmosphere of the previous decade is here replaced with a degree of energy and drama stemming from a sharp, linear execution. The angular, broken forms which were developed during Picassos Cubist phase recall the dramatic depictions of Dora Maar and his war-time portraits.\nOver the ten or so years in which Picasso painted portraits of Françoise, she was a catalyst for some of the most elegant and innovative artistic explorations. In the early days of their relationship Picasso painted Gilot in a series of now celebrated images of femme-fleur, where the artist beautifully compared the features of his youthful muse to a delicate flower. In the present work Picasso further develops the linear style with which his portrayals of Gilot are usually associated, pushing the boundaries of two-dimensional representation. Using only white paint, he reverses the traditional notion of line and background, and allows passages of unpainted brown board to play the role of the line which describes the features of his sitter. Instead of the traditional modulation of paint, a variation in chromatic intensity is achieved through the colour and texture intrinsic to the plywood visible through or between layers of white paint. This combination of linear treatment with the use of only two colours would lead to a remarkable series of sculptures executed in sheet metal which Picasso produced the following year (fig. 4).\nPicassos monochrome works (figs. 1, 3 & 4) have recently been the subject of the highly acclaimed exhibition Picasso Black and White, held in New York and Houston in 20012-13, in which the present work was included. Whilst Picassos use of a reduced palette, going back to his Cubist works, is often discussed by art historians from a formalist point of view, in the exhibition catalogue Carmen Giménez suggests that line, shadow, chiaroscuro, and monochromy are not simple techniques or procedures, but bring with them a symbolic sense of enormous intellectual and psychological density something of deep importance for an artist like Picasso (C. Giménez in Picasso Black and White (exhibition catalogue), op. cit., p. 25). In the present work this monochrome backdrop, executed in wide brushstrokes of pure white pigment, emphasises the artists flat treatment of the picture plane, and by concealing any indication of a setting, focuses the viewers attention on the details of the sitters costume, hair and facial features. The resulting image is not only a remarkable example of Picassos unique technical and intellectual ability, but also a poignant reflection of the artists emotional state during this important period in his life.\n\nThe authenticity of this work has been confirmed by Claude Picasso.\nDated 25.3.53. on the reverse
GB
GB
GB

medium

Oil on board

creator

Picasso, Pablo

dimensions

100.5 by 81cm.

exhibition

Salzburg, Galerie Thaddaeus Ropac, Picasso, ein zeitgenössicher Dialog, 1996, no. 20, illustrated in colour in the catalogue New York, The Solomon R. Guggenheim Museum & Houston, The Museum of Fine Arts, Picasso Black and White, 2012-13, no. 97, illustrated in colour in the catalogue

literature

Sydney Picasso, Picasso: Comme si j'étais une signature, Paris, 1996, no. 5 Sylvette, Sylvette, Sylvette: Picasso and the Model (exhibition catalogue), Kunsthalle, Bremen, 2014, no. 77, illustrated in colour p. 79

provenance

Claude Picasso, Paris (the artist’s son; by descent from the artist) Thaddaeus Ropac, Salzburg (acquired from the above in 1995) Acquired from the above by the present owner in 1995

signedDate

Dated 25.3.53. on the reverse

time_period

Painted on 25th March 1953.

time_range_end

1953

artist_range_end

1973

time_range_start

1953

artist_range_start

1881

consignmentDesignation

Property of a European Private Collector

creator_nationality_dates

1881 - 1973


*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.

*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.


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