Thence by descent to the previous owner
The Picasso Project (ed.), Picasso's Paintings, Watercolors, Drawings and Sculpture, The Sixties II, 1964-1967, San Francisco, 2002, no. 64-319, illustrated p. 109
Having gone through so many phases of stylistic and technical experimentation, Picasso now pared down his style in order to paint monumental works in quick, spontaneous brushstrokes. Rather than ponder the details of human anatomy and perspective, he focused his energies of expressing this sense of immediacy. Louise d'Argencourt writes: “The contemplative character of Picasso's last works – expressed in part in the tranquil poses of his seated figures, the importance given to their heads, and the absence in them of all agitation – is often balanced by a spirited execution that makes use of many painterly effects” (Louise d'Argencourt in Pablo Picasso, Meeting in Montreal, Montreal Museum of Fine Arts, Montreal, 1985, p. 284). This is particularly true of Buste d’homme in which Picasso mixes bold primary colours and rich blacks and greys, painting with both broad, sweeping brushstrokes and energetic staccato effects, to create a work of startling intensity and energy.
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