巴布羅.畢加索

藝術家身後
瑪莉娜．畢加索， 巴黎
阿奎維拉畫廊，紐約
現有藏家1989年購自上述人士

「版畫家畢加索：瑪莉娜．畢加索收藏之作品」美國達拉斯，達拉斯藝術博物館、紐約，布魯克林博物館、底特律，底特律藝術中心與丹佛，丹佛美術館，1983年，品號20，圖錄附彩色圖版
「巴布羅．畢加索的小型開本)」紐約，楊．克魯格爾畫廊， 1989年， 品號17

布里吉特．巴爾，《畢加索凸版與凹版單色版畫作品專題目錄1899-1931》，第1冊， 1990年， 提及頁333
波恩哈爾德．蓋瑟爾，《畢加索：畫家與版畫家，凸版與凹版版畫作品圖錄 1899-1931》，瑞士伯恩，1955年，品號200

Work is in excellent condition. Oil and gouache over etching. T-hinged with Japanese paper at the top corners. The work retains a rich and textured surface, particularly in the white pigment around the figure. In some areas of the sheet, the oil in the medium has bled slightly into the sheet, this is consistent with the medium. The extreme edges of the sheet are slightly time darkened. Colors are fresh and lively.
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.

Baigneuse au pouf rouge and the lot which follows, Deux femmes, form an extraordinary pair of works which Picasso executed in 1930, using his own etchings as his source image. Picasso created the etching in 1930, probably between September and October, in Boisgeloup. He then painted over two of these etchings with gouache, creating elegant female portraits. In the current work, he depicted a single bathing nude, strongly reminiscent of the work of Jean-Auguste-Dominique Ingres, a dominant inspiration for the artist through the 1920s.

Brigitte Baer writes of this work, "Our Baigneuse is a reinterpretation of the Baigneuse de Valpinçon painted by Ingres in 1808 (Musée du Louvre [fig. 1]), which itself was reused by the artist in his Petite baigneuse, Intérieur de harem of 1828 (Musée du Louvre), a painting that clearly stresses the theme of 'women together.' Furthermore, Picasso seems also to refer to an Ingresque technique or process. We know that Ingres had no compunction about reusing the pose of one of his models by 'flipping it over'... In a similar fashion, Picasso takes the Baigneuse de Valpinçon and 'flips her over' in order to show her frontality. The 1828 Baigneuse then enters the process, lending the red of its drapery to the cushion in the Picasso and the yellow stripes of the turban to Picasso's yellow scarf" (B. Baer, Picasso the Printmaker: Graphics from the Marina Picasso Collection, op. cit., p. 57).