259
259

PROPERTY FROM THE COLLECTION OF DAVID C. COPLEY, LA JOLLA, CALIFORNIA

Françoise Gilot
LES PEINTRES
Estimate
30,00040,000
LOT SOLD. 509,000 USD
JUMP TO LOT
259

PROPERTY FROM THE COLLECTION OF DAVID C. COPLEY, LA JOLLA, CALIFORNIA

Françoise Gilot
LES PEINTRES
Estimate
30,00040,000
LOT SOLD. 509,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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Françoise Gilot
B.1921
LES PEINTRES
Signed F. Gilot. (lower left); dated Oct à dec 1952 and titled (on the reverse)
Oil on board
64 3/8 by 51 3/8 in.
163.5 by 130.5 cm
Painted in 1952.
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Provenance

Galerie Louise Leiris, Paris
Daniel Henry Kahnweiler, Paris (acquired by 1956)
Françoise Gilot (acquired by 1980)
The Elkon Gallery, Inc., (acquired by 1993)
Acquired from the above in 1998

Exhibited

Roslyn, Long Island, Nassau County Museum of Art, Intimates and Confidants in Art, 1993
New York, The Elkon Gallery Inc., Françoise Gilot: The Early Years, 1940-55, 1998
New York, Gagosian Gallery, Picasso and Françoise Gilot, Paris — Vallauris, 1943-1953, no. 349, illustrated in color in the catalogue

Catalogue Note

The present work is an evocative depiction of the profound influence Pablo Picasso had on Françoise Gilot, and an entire generation of artists in the mid-twentieth century. Gilot was famously a young lover and muse to Picasso, forty years her senior, from 1944 to 1953. In Les peintres, she depicts him in a style undeniably inspired by his art in both style and coloration.

In homage, Gilot repaints in trompe l'oeil a famous image Picasso drew of her with a peace dove above her head and with a verse by Paul Éluard below. Picasso is portrayed proudly presenting the drawing to Gilot and two other artists, the established Édouard Pignon and the young Pierre Gastaud. Gilot disclosed her inspiration for the work, writing: “I wanted to create a large composition in which three generations of artists would be present, with Picasso himself in the center… I wanted Picasso’s eyes to be like beacons of light.” She goes on further to say, “The relations between figures at the front and the receding ones achieved the purpose of showing how artists of different generations proceed from one another” (quoted in “Françoise Gilot and Pablo Picasso: Mano a Mano,” in Picasso and Françoise Gilot, Paris-Vallauris, 1943-1953 (exhibition catalogue), Gagosian Gallery, New York, 2012, p. 348).

Impressionist & Modern Art Day Sale

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New York