Pablo Picasso

Estate of the artist
Marina Picasso, France (the artist’s granddaughter; acquired from the above)
Acquired from the above by the present owner

Pully & Lausanne, FAE Musée d'art contemporain, Picasso contemporain, 1994, illustrated in the catalogue
New York, Jan Krugier Gallery, Drawing in Space, 2008, no. 20

Executed on thick cream coloured card. There is creasing to the card and irregular edges which are intrinsic to the making of the work, revealing the working methods of the artist fashioning the medium into three-dimensions. There is some pilling to the card at the construction creases of the woman's neck, which also appears to be original to the creation of the work. There is evidence of some white tape residue at the lower left corner of the composition. Minor instances of foxing in the lower left and some uniform t.mes fading to the card and to the pencil commensurate with age. The work is in very good condition.
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In the last seventeen years of his life, Picasso’s sole model was his beloved wife, Jacqueline Roque. The couple famously met when Jacqueline was employed as a sales woman at the Madoura ceramic studio in Vallauris in 1952. As described by Barbara Rose, “he was seventy; she was twenty five. Old enough to be her grandfather, Picasso fell madly in love with the young woman and pursued her until she finally succumbed to his ardor. With her exotic almond-green eyes, shiny dark hair, olive complexion, aquiline nose, and voluptuous body, the young Jacqueline was nothing less than the incarnation of Picasso’s fantasies” (Barbara Rose, quoted in Picasso & Jacqueline, The Evolution of Style (exhibition catalogue), New York, 2014-15, p. 24).

The manifestation of his perfect mate and his ultimate muse lead to a period of unrivaled creativity during which t.mes Picasso experimented with ceramics, steel, and prints and reworked Old Master paintings. Obsessed with capturing Jacqueline’s likeness, Picasso did more than four hundred portraits of her over the course of their relationship, from genre oils and woodcuts to this extraordinary paper cut. A test.mes nt to his love of her almond eyes and her angular face, this Cubist sculpture captures the playfulness and ease Picasso was actively experiencing with Jacqueline at the t.mes of its creation.

Formally analagous to the artist’s sheet.mes tal compositions which he was working upon simultaneously, the cut outs share with their metal counterparts a challenging and inquisitive spirit. As elucidated by Werner Spies, this is no more apparent than in the sculptural renderings of Jacqueline herself, “these sheet.mes tal sculptures elude simultaneous perception. This is due to the fact that at any given moment, we are confronted with a planar image, and cannot-as with a modeled sculpture-anticipate the course of the eye will peacefully follow. Most complicate and perplexing are the sheet.mes tal heads. In these sculptures, measurable, logically recognizable elements are connected in such a way to bring vision into an irrational situation. Something dramatic opens up in this shift of the subject: a new concept of t.mes dominates these sculptures, an interruption of the following, unlimited open-ended temporal continuum. t.mes is revealed both perceptually and existentially. This comes to expression not at least in all in the many busts of Jacqueline, in which an expression is apprehended and immediately effaced. This alteration of attitude calls into questions even the simple stat.mes nt of a face” (Werner Spies, Picasso: The Sculptures, Stuttgart, 2000, p. 286).

An exceedingly rare three-dimensional piece, this work was formerly in the personal collects ion of Marina Picasso, the artist’s granddaughter.