Le Repose du Minoture: Champagne et Amante

Pablo Picasso
Le Repose du Minoture: Champagne et Amante
May 17, 1933

An original hand-signed Pablo Picasso lithograph print.

May 17, 1933

Original etching printed in black ink on Montval laid paper bearing the “Vollard” watermark

Hand-signed in pencil in the margin lower right Picasso, also inscribed with the date in the plate (in reverse) lower left.

A superb impression of Geiser/Baer’s only state, printed after the steelfacing of the plate, from the edition of 260 on this paper (there were a further 50 impressions printed on Montval laid paper with wider margins and the Montgolfier watermark, and three impressions printed on parchment). Plate 83 of 100 from the Suite Vollard. Published by Ambroise Vollard, Paris, 1939; printed by Roger Lacourière, Paris.

Catalog: Bloch 190; Geiser 349.B.d

7 9/16 x 10 inches

Sheet Size: 13 3/8 x 17 inches

In this image, Picasso politely introduces the Minotaur into the Suite Vollard and to his viewers. The irony and humor of this image provides a light counterpoint to the more intensely symbolic and emotive etchings of the Minotaur, which show him in a variety of scenarios. Taking the place of the distinguished bearded sculptor of prior etchings in the suite—lying in repose in the comfort of the lush studio—the beast looks over his shoulder and raises a glass of wine to the audience with a smile. Aside from his startling physiognomy, he is the picture of a perfect gentleman. The beautiful young model (who clearly resembles Picasso’s lover Marie-Thérèse Walter) looks at him gamely—she is clearly unfazed by this beast’s sudden appearance as her lover, as if nothing has changed. And why should it be otherwise? As she revealed later in life, Marie-Thérèse was entirely comfortable and familiar with the two sides of the artist, saying “I always cried with Pablo Picasso… [he was] wonderfully terrible”.