FRANÇOISE GILOT | Le Repaire

Acquired directly from the artist

The work is in very good condition. The canvas is not lined. There is pigment shrinkage in the black, grey and yellow pigments throughout. There is some minor frame abrasion along the top and right edges of the canvas. Associated with this abrasion is a one-half inch of loss in the right half of the upper edge. There is a pindot-sized area of loss to the red oval element of the upper center. The colors are well-preserved and present nicely. Under UV inspection, no inpainting is evident.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

During the early 1960s, Gilot explored the Greek myth of Theseus and the Minotaur. As Theseus ventures into the den—or le repaire—of the Minotaur, he began to see that the quest is a journey to one's own self-discovery. Françoise Gilot's choice of title for the present work, a reference to Theseus' journey, could be seen as potentially autobiographical. Picasso often portrayed himself as a Minotaur in paintings, drawings and etchings, and this period marked a revisiting of this life-altering relationship for Gilot. During the early 1960s, Gilot alternated her days between painting and working on the manuscript for Life with Picasso, which was published in 1964. In the process of writing such a figurative book exploring her decade-long relationship with Picasso, Gilot likely required interludes of abstraction for balance while revisiting their tumultuous relationship. 

The authenticity of this work has been confirmed by Françoise Gilot and it is registered in the artist’s archives.