PABLO PICASSO | Paysage de Juan-les-Pins

Galería Théo, Madrid
David Thompson, Pittsburgh (acquired by 1960)
Moderne Galerie, Marie-Suzanne Feigl, Basel
Sale: Christie's, London, 8th February 2012, 463
Purchased at the above sale by the present owner

Zurich, Kunsthaus, Thompson Pittsburgh: Aus einer amerikanischen Privatsammlung, 1960, no. 172

Christian Zervos (ed.), Pablo Picasso, œuvres de 1926 à 1932, Paris, 1955, vol. VII, no. 422, illustrated p. 184

Please note that a professional condition report is available for this lot. Please contact the department for further details on +44 207 293 6413.
"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."

In 1920 Pablo Picasso first visited the seaside resort of Juan-les-Pins, a town in Antibes, during a trip with his first wife Olga and was immediately captivated by the beauty of the area. Returning again in the summer of 1924 he created a series of works throughout his stay depicting the landscape of his villa and capturing the radiant light of the south of France. A Greek and later Roman settlement, Antibes provided the ideal combination to inspire Picasso: stunning landscape alongside a history of classical art and a mild climate. The South of France had been an important historical and cultural meeting-point since the early 19^th century and had become a thriving artistic centre by the time Picasso discovered it. Highlighting the close connection between Picasso and Antibes, the Château Grimaldi was bought by the municipality in 1926 with the aim of housing a museum for the town, and since 1946 it has been the home of the Picasso Museum. Forming part of the 1925 series, Paysage de Juan-les-Pins represents a synthesis between the Cubist idiom which had dominated Picasso’s previous output in recent years with the more classical direction his paintings had begun to take from the early 1920s, based on the artist’s direct observations of nature and architecture. The villa he had taken, complete with a tower reminiscent of medieval castles, became the subject of various studies in which the artist was observing from the viewpoint of his garage, which he had turned into a studio. The thick black outlines of the composition serve as a striking visual focus, whilst the villa is nestled between two adjacent trees, juxtaposed against vibrant primary colours of blue, red and brown. Three horizontal swathes of paint are applied to the background creating an extra layer of depth to the composition and marking a bold contrast to the predominant black. Ultimately, Paysage de Juan-les-Pins vividly captures the movement and energy of Picasso’s landscapes from this series.