拍品 1
  • 1

巴布羅·畢加索

估價
800,000 - 1,200,000 USD
已售出
2,475,000 USD
招標截止

描述

  • 巴布羅·畢加索
  • 《憤怒的貓頭鷹》
  • 款識:畫家簽名Picasso
  • 著色及部分上釉陶瓷

來源

奧圖·格爾森畫廊,紐約
私人收藏,康乃狄克州(售出:紐約蘇富比,1989年11月16日,拍品編號452)
佩斯畫廊,紐約(購自上述拍賣)
現藏家1990年12月21日購自上述畫廊

出版

展覽圖錄,紐約,奧圖·格爾森畫廊,《畢加索:美國展》,1962年,載青銅版本圖,頁碼不詳

展覽圖錄,紐約,現代藝術博物館,《畢加索雕塑》,1967年,141頁載另一例圖

展覽圖錄,倫敦,泰特藝術館,《畢加索雕塑、陶瓷及平面設計作品》,1967,66頁載青銅版本圖

喬治·拉米,《畢加索陶瓷作品》,伯恩,1980年,68頁,品號157,載另一例圖

維爾納·史畢斯,《畢加索:石膏模作品》,斯圖加特,1983年,390頁,列為品號404-III

展覽圖錄,瓦洛里,薩斯-米利茨畫室,《巴布羅·畢加索:陶瓷作品》,1986年,頁碼不詳,載另一例圖

維爾納·史畢斯,《畢加索雕塑及雕塑專題目錄》,斯圖加特,2000年,373頁,品號404 II,載另一例圖

拍品資料及來源

"Sculpture is the best comment that a painter can make on painting." - Pablo Picasso 

The subject of La Chouette en colère had a special appeal for Picasso who had rescued and cared for an owl that had fallen from the ceiling beams while the artist was painting at the Château Grimaldi in Antibes in 1946. In her autobiography, Picasso’s lover Françoise Gilot fondly recalled his combative relationship with the owl: “Every time the owl snorted at Picasso he would shout ‘Cochon, Merde,’ and a few other obscenities, just to show that he was even worse-mannered than him, but Picasso’s fingers, though small, were tough and the owl didn’t hurt him. Finally the owl would let him scratch his head and gradually came to perch on his finger instead of biting it, but even so, he still looked very unhappy” (F. Gilot, My Life with Picasso, New York, 1964). The owl was a subject which came to permeate Picasso’s visual language, providing a major motif through the 1950s and 1960s, particularly in his ceramics. In these exquisitely crafted ceramics, the owl became part of his personal iconography; Picasso was aware of the owl-like quality of his own face and thereby in extension the work can be read as a projection of the artist’s identity.

Executed in 1953, this unique work is one of a number of individually painted ceramic owls which were cast from an original white earthenware model. Long-celebrated as amongst the best examples of the artist’s playful and innovative approach, Picasso’s ceramics have undergone a crucial reassessment in recent years. Following a number of important exhibitions as well as series of critical studies, his ceramics have come to be understood as a key aspect of his wider artistic production. This has realigned his work in clay as an activity concurrent with his painting and sculpture and emphasized the important reciprocal links between them – in ceramics Picasso’s imagination was matched by the versatility of the medium. Picasso’s son Claude has vivid memories of the creative process involved in producing ceramics: “Working with the primal elements fire and earth must have appealed to him because of the almost magical results. Simple means, terrific effect. How ravishing to see colours sing after internal fires have given them life. The owls managed a wink now. The bulls seemed ready to bellow. The pigeons, still warm from the electric kiln, sat proudly brooding over their warm eggs. I touched them. They were alive really. The faces smiled. You could hear the band at the bullfight” (C. Picasso, in Picasso: Sculptor/Painter (exhibition catalogue), Tate Gallery, London, 1994, p. 223).

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