Lot 119
  • 119

Pablo Picasso

Estimate
50,000 - 70,000 USD
Sold
257,000 USD
bidding is closed

Description

  • Pablo Picasso
  • Tête de femme, profil droit
  • Oil on newspaper

Provenance

Estate of the artist (inventory no. 4304)
Marina Picasso, France (the artist’s granddaughter; by descent from the above)
Acquired from the above 

Exhibited

Dublin, The Irish Museum of Modern Art, Picasso Working on Paper, 2000, no. 140, illustrated in color in the catalogue
Barcelona, Museu Picasso, Picasso: Guerra y Paz, 2004, no. 58, illustrated in color in the catalogue

Literature

Anne Baldassari, Picasso Papiers Journaux, Paris, 2003, p. 151
The Picasso Project, ed., Picasso's Paintings, Watercolors, Drawings and Sculpture, Nazi Occupation, 1940, San Francisco, 2013, no. 41-241b, illustrated p. 85

Catalogue Note

Upon the outbreak of World War II, Pablo Picasso moved to Royan, seventy-five miles north of Bordeaux on the Atlantic coast of France. There he completed many portraits of his model and lover, Dora Maar. Maar had been a constant companion in his studio since 1935, acting as a documentary photographer throughout his production of Guernica in 1937. By 1941 Picasso's paintings of her reflected the trials and tribulations that they had experienced together, and her image came to represent the ominous mood of the era. In Tête de femme, profil droit, he magnificently distorts Maar's image, revealing the complexity of his relationship with her and the emotions that she inspired in him. Indeed Dora Maar's relationship with Picasso is one of the most tumultuous love stories in the history of twentieth-century art. Picasso met Maar, a Surrealist photographer, in the autumn of 1935 and became enchanted by the young woman's powerful sense of self and commanding presence. In the eight years that followed, Maar was Picasso's principal model and the subject of some of his most iconic portraits. While Picasso often depicted Maar in an aggressive, even violent fashion, Tête de femme, profil droit reflects Picasso's more tender regard for his lover. Such treatments of Maar are a vital insight into the artist's unpredictable opinion of his subject. Despite his abruptly and coldly ending their relationship, it is clear from Tête de femme, profil droit that Picasso harbored enormous affection for his challenging and strident muse.
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