- 4
巴布羅·畢加索
描述
- 巴布羅·畢加索
- 《女子頭像》
- 款識:畫家簽名Picasso(右下)
- 油彩畫布
- 22 x 14公分
- 8 5/8 x 5 1/2英寸
來源
Richard Feigen Gallery, New York & Chicago
Private Collection, New York
Galerie 27, Paris
Acquired from the above by the present owner in 1997
出版
Jesse McDonald, Pablo Picasso, New York, 1993, p. 74
拍品資料及來源
However, whilst there is a tendency to read the work of this period through a purely biographical lens, Michael C. Fitzgerald argues convincingly for a more nuanced reading that takes into account Picasso’s engagement with Surrealism: ‘Although Picasso’s increasingly troubled relationship with Olga probably provided raw material for these images, their conception and sequence suggest that imaginative transformation quickly overran representation. Rather similar to Picasso’s procedure in the earlier Neo-classical pictures, his process of transformation subordinated direct experience to broader thematic concerns. The silhouettes may symbolize his emotional distance from Olga, but they also affirm a classical order that is threatened with destruction. The predatory females are obviously fantastic constructions; they derive at least as much from the Surrealists’ often demonic conception of women as from any personal circumstances. As if darkly mirroring the consonance of Picasso’s Neoclassicism with the early years of his marriage to Olga, his immersion in Surrealism corresponded to the dissonance of their subsequent relationship’ (M. C. Fitzgerald in Picasso and Portraiture: Representation and Transformation (exhibition catalogue), The Museum of Modern Art, New York & Grand Palais, Paris, 1996-97, p. 324).