FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER
Marina Picasso (the artist's granddaughter; by descent from the above)
Acquired from the above by the late owner
Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle; Frankfurt, Städtische Galerie im Städelschen Kunstinstitut & Zurich, Kunsthaus, Pablo Picasso, Sammlung Marina Picasso, 1981-82, no. 149/1, illustrated in the catalogue
Tokyo, The National Museum of Modern Art & Kyoto, Kyoto Municipal Museum, Picasso, Masterpieces from Marina Picasso Collection and Museums in U.S.A. and U.S.S.R., 1983, no. 117/1, illustrated in the catalogue
Melbourne, National Gallery of Victoria & Sydney, Art Gallery of New South Wales, Picasso, 1984, no. 172/2, illustrated in the catalogue
Bielefeld, Kunsthalle Bielefeld, Picassos Surrealismus, Werke 1925-1937, 1991, no. 16.1, illustrated in the catalogue
New York, The Solomon R. Guggenheim Museum & Fort Worth, Modern Art Museum of Fort Worth, Picasso and the Age of Iron, 1993, illustrated in the catalogue
London, Tate Gallery, Picasso: Sculptor / Painter, 1994, no. 64.1, illustrated in the catalogue
Duisburg, Wilhelm Lehmbruck Museum & Hamburg, Hamburger Kunsthalle, Pablo Picasso - Wege zur Skulptur, Die Carnets Paris und Dinard aus der Sammlung Marina Picasso, 1995, illustrated in the catalogue
Dinard, Palais des Arts, Picasso à Dinard, 1999, no. 43, illustrated in the catalogue
Paris, Musée National d'Art Moderne, González/Picasso, dialogue. Collections du Centre Georges Pompidou, Musée National d'Art Moderne et du Musée Picasso, 1999, illustrated in colour in the catalogue
Vienna, Albertina, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 148, illustrated in colour in the catalogue
Bern, Zentrum Paul Klee, Klee rencontre Picasso, 2010, illustrated in colour in the catalogue
Christian Zervos, Pablo Picasso, œuvres de 1926 à 1932, Paris, 1955, vol. 7, no. 200, illustrated pl. 76
Je suis le Cahier. The Sketchbooks of Picasso (exhibition catalogue), Pace Gallery, New York, 1986, no. 96, illustrated p. 327 (listed under Carnet 1044)
Carsten-Peter Warncke & Ingo F. Walther, Pablo Picasso, Cologne, 1991, illustrated p. 326 (titled Badende mit Strandball)
Picasso & Modern British Art (exhibition catalogue), Tate Britain, London, 2012, illustrated p. 131
Discussing the sketchbooks Picasso produced at Dinard, John Richardson wrote: ‘For the first ten days or so in Dinard, Picasso lay low and seemingly did no work. And then on 27th July, he resumed drawing where he had left off in Paris. [Werner] Spies believes that he had torn the last page, dated 8th July, out of the Carnet Paris which he had been using and taken it to Dinard as a starting point for the dramatically contorted bathers he now began to paint. Unlike the femmes-phallus in the Cannes drawings which appear to be made of ‘erectile tissue’, the matière of the Dinard ones is less highly charged: driftwood, pebbles, and bones that have been smoothed by the sea. “Pebbles are so beautiful”, Picasso told Brassaï’ (J. Richardson, A Life of Picasso. The Triumphant Years, 1917-1932, New York, 2007, p. 357).
In the 1994 Tate exhibition catalogue entry for the present work, Elizabeth Cowling and John Golding stated: ‘The great importance of this remarkable notebook is two-fold. In the first place, there are many drawings directly related to the series of small-scale paintings of schematised bathers playing on the beach which Picasso actually executed in Dinard [fig. 1], or to metal sculptures [fig. 2; …], which he made in Paris on his return, or in 1929-30 with the help of Julio González. […] In the second place, there are many pages of highly wrought, volumetric drawings of stacked and balanced bone- and stone-like forms, which are like projects for monumental multi-part sculptures – sculptures which Picasso never made, but which reflect his current obsession with inventing new forms and techniques for sculpture’ (E. Cowling & J. Golding, Picasso: Sculptor/Painter (exhibition catalogue), op. cit., p. 265).
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