Galerie Beyeler, Basel (acquired from the above in June 1966)
Jane Wade, Ltd., New York (acquired from the above in October 1966)
Private Collection, New York (acquired from the above in 1966. Sold: Christie's, New York, 6th November 2007, lot 71)
Richard Green Fine Art, London (purchased at the above sale)
Private Collection, Europe (acquired from the above in March 2008. Sold: Sotheby's, New York, 4th November 2014, lot 11)
Purchased at the above sale by the present owner
Carsten-Peter Warncke, Pablo Picasso, Cologne, 1994, vol. II, illustrated in colour p. 462
In the years following the war, Picasso was criticised by some of his contemporaries for the lack of open political engagement in his art. Rather than a vehicle for documenting the destructive reality that surrounded him, painting was for him a world of creativity into which he could escape, and his works of this period certainly express Picasso's state of mind in his own artistic language. 'It is not time for the creative man to fail, to shrink, to stop working', Picasso told Sidney and Harry Janis of his experience in occupied Paris. 'There is nothing else to do but work seriously and devotedly, struggle for food, see friends quietly and look forward to freedom' (P. Picasso quoted in Marilyn McCully (ed.), A Picasso Anthology: Documents, Criticism, Reminiscences, Princeton, 1997, p. 224).
Frances Morris wrote about the symbolism of Picasso's still-lifes of the early 1940s: 'Above all it was the still-life genre that Picasso developed into a tool capable of evoking the most complex blend of pathos and defiance, of despair to hope, balancing personal and universal experience in an expression of extraordinary emotional power. The hardship of daily life, the fragility of human existence and the threat of death are themes that haunt Picasso's still-life paintings of the war and Liberation periods' (F. Morris in Paris Post War, Art and Existentialism 1945-1955 (exhibition catalogue), Tate Gallery, London, 1993, p. 155).
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