Galerie Paul Rosenberg, Paris
Jacques Helft, Paris (acquired from the above circa 1919)
Stephen Hahn Gallery, New York
Acquired from the above on June 1970
Christian Zervos, Pablo Picasso, vol. 3, Paris, 1949, no. 253, illustrated pl. 88
The Picasso Project, ed., Picasso's Paintings, Watercolors, Drawings and Sculpture. From Cubism to Neoclassicism, 1917-1919, San Francisco, 1995, no. 19-038, illustrated p. 183
The present drawing, created during what is known as the artist's neo-Classical period, evidences Picasso's life-long admiration of the art of Paul Cézanne. This picture is closely modeled after Cézanne's legendary Le Grand baigneur, now in the collection of the Museum of Modern Art in New York, which Picasso had no doubt seen either when it was exhibited in Paris in 1910 or when it was in the possession of his dealer, Paul Rosenberg, who also handled the present work. Although Picasso's indebtedness to the example of Cézanne is clear, this drawing of 1919 exemplifies the transformation that had occurred in his style as he abandoned the Cubist techniques that had dominated his art in the years before the war.
Those works which Picasso produced immediately after the Great War are notable for their extreme precision, which was directly related to the "Call to Order" that encouraged the French avant-garde to draw inspiration from their Latinate ancestry and the examples of traditional French masters like Ingres and Poussin. Picasso, as usual, was a pioneer in this new movement, confidently reinterpreting a recognizable Greco-Roman clarity of form into his drawings and paintings of the era, including the present work.
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