Sculpteurs, Modèles et Sculpture

×

Send Inquiry for Sculpteurs, Modèles et Sculpture

Unauthorized Inquiry

500 characters remaining

Send me a copy

Save my Name and Email in this browser for my next Inquiry/Quote Request

I allow the Site owner to contact me via email/phone to discuss this Inquiry. (If you want to know more about the way this site handles the data, then please go through our privacy policy)

Inquiry email sent successfully!

An original Pablo Picasso Etching.

March 20, 1933

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

A fine impression of Geiser’s second and final state, printed after the steelfacing of the plate, from the edition of 260 printed 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 41 of 100 from the Suite Vollard. Published by Ambroise Vollard, Paris, 1939; printed by Roger Lacourière, Paris.

Catalog: Bloch 149; Geiser 301 B.d

Platemark: 7 5/8 x 10 7/16 inches Sheet size: 13 5/16 x 17 1/2 inches

Born in Málaga, Spain, Pablo Picasso received most of his early training in Barcelona before settling in Paris in 1900. He spent much of the first half of his career in the French capital city, where he worked as a painter, sculptor, and printmaker. This etching is plate 41 in the thematic cycle “The Sculptor’s Studio” found in the well-known Suite Vollard. During this period of his career, Picasso was interested in combining classicized linear drawing with abstract elements in his work.

“Sculpteurs, modèles et sculpture” represents two bearded males, (presumably the sculptors), a seated male figure (perhaps a model, a sculptor or a sculpture), a female figure looking through a window (a model?), and an abstract sculpture representing a woman. The grouping encourages viewers to contemplate the relationship between creator, creation, and model. It is not absolutely clear which figures are meant to represent “real” people, and which represent art objects. The fact that all the figures are ultimately Picasso’s creations adds to the image’s ambiguity.