- 35
Pablo Picasso
Description
- Pablo Picasso
- Le Peintre et son modèle
- Signed Picasso and dated 2.7.70. IV (upper left)
- ink on cardboard
- 8 5/8 x 12 1/4 in.
Provenance
Galerie Berggruen & Cie, Paris (acquired from the above in 1971)
Private collection, Austria (acquired from the above in 1979)
Sale: Im Kinsky, Wien, 10th November 2011, lot 1037
Acquired at the above sale by the present owner
Exhibited
New York, Leila Haller Gallery, Look at me: Portraiture from Manet to the Present, 2014, illustrated in the catalogue p. 126
Shanghai, Global Harbour Museum, The Legend of Art: Picasso, 2015-16, no. 7, illustrated in the catalogue p. 47
Literature
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The painter is implicit in the canvas represented on the left and the large hand dominating the composition, a symbol of the creative act inspired by the prostrate model. As in all of Picasso's work, the theme of the painter and his model plays a multiple role. According to Michel Leiris, "That the artist at work – almost always "The painter and his model" which, in Picasso's work, has appeared for a long time as a major theme – has become not his unique theme, but at least the most frequent, shows all the importance that the very act of painting assumes in the eyes of Picasso" (in Jean Leymarie, Picasso. Métamorphoses et Unité, Geneva, 1971, p.191).
It is remarkable that at the end of his life Picasso returned to such an eminently figurative and traditional subject at a time when the art world was interested in Abstract Expressionism and the non-figurative painting of the American school. He who opened the doors to abstraction, without ever however rejecting figuration, returned thus to his great eternal subject.