巴布羅·畢加索

估價

1,000,000 - 1,500,000 USD

招標截止

描述

巴布羅·畢加索
《持杯的手》
款識：畫家簽名 Picasso（左下）
炭筆、粉筆紙本
24 1/4 x 18 7/8 英寸
61.5 x 48 公分

來源

Max Pellequer, Paris

Galerie Ernst Beyeler, Basel

Walter Feilchenfeldt, Zürich (acquired by 1968)

Professor Gustav Stein, Cologne (acquired in 1969)

Acquired by descent from the above

展覽

Bielefeld, Kunsthalle, Picassos Klassizismus, 1988, no. 41, illustrated in the catalogue

出版

Christian Zervos, Pablo Picasso, supplément aux années 1920-1922, Paris, 1975, vol. XXX, no. 258, illustrated pl. 83

The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture. Neoclassicism I, 1920-1921, San Francisco, 1995, no. 21-247, illustrated p. 243

Josep Palau i Fabre, Picasso: From the Ballets to Drama (1917-1926), Barcelona, 1999, no. 1107, illustrated p. 296

Picasso's Drawings, 1890-1921: Reinventing Tradition (exhibition catalogue), The Frick Collection, New York & National Gallery of Art, Washington, D.C., 2011-12, mentioned p. 267

拍品資料及來源

Picasso executed Trois mains au gobelet during the summer of 1921, which he and Olga spent at Fontainebleau, a resort just south-east of Paris. The main image that preoccupied the artist at this time was that of women at the fountain, a series that resulted in several masterpieces showcasing the neo-classical style that Picasso pioneered in the early 1920s.

According to Marilyn McCully, after completing several versions depicting classical figures at the fountain, "Picasso evidently considered realizing a modern-day version of a similar scene with women, including a girl, gathered round a nineteenth-century Wallace fountain" (M. McCully in Picasso’s Drawings, 1890-1921: Reinventing Tradition (exhibition catalogue), op. cit., p. 267). To this end he executed a number of drawings and a large pastel showing female figures, one of them holding a cup in her right hand. The present sheet contains three studies of the hand holding the small cup, the top one executed in charcoal and the other two heightened with white chalk giving them a sense of sculptural volume and purity.

During the three months spent at Fontainebleau, Picasso "was evidently inspired by the art that he discovered at the château, including the temporary exhibition of drawings that was held there in the summer. This show featured works by Fontainebleau masters, including Primaticcio and his followers, and they made a strong impression on Picasso at a time when he was introducing aspects of classical tradition into his own practice. In various compositions, including the painting Three Women at the Spring […], the new sense of monumentality and the expression of volume through exaggeration of form […] reflect some of the consequences of that summer’s artistic exploration" (ibid., pp. 265 & 267). Although focusing on a small detail of his intended composition, the present work beautifully and skilfully reflects the volume and monumentality of Picasso’s neo-classical works.