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拍品专文
Tableau de famille dates to the years following Picassos marriage to Jacqueline Roque, who dominated both the artist's life and his art during the fantastic flourish of his late period, and was created during the period in which Picasso spent much of this time in a castle he purchased in 1958, the Château de Vauvenargues. He had been disturbed by the encroaching development around his former home in the South of France, the Villa La Californie, and thus sought a new seat. It was at the suggestion of Douglas Cooper and John Richardson that the Spanish artist bought the vast and airy fortalice, which lay in the vicinity of the Mont Sainte-Victoire so immortalized by one of Picasso's greatest artistic heroes, Paul Cézanne. Because it was large and draughty, Jacqueline eventually prevailed on Picasso to choose more comfortable lodgings, and the couple settled in the villa of Notre-Dame-de-Vie in Mougins, the artist's final home. During the brief window when he lived at Vauvenargues, however, he reveled in the grandeur of the place.
Befitting of his lofty surroundings, the present composition deliberately echoes portraits from the Old Masters, yet Picasso has used those conventions precisely as a springboard for this gestural adventure in new techniques. Tableau de famille is an important example from one of Picasso's most experimental series known as the épreuves rincées (rinsed proofs). Executed in the early 1960s, the rincé images were produced by the artist firstly printing a linocut composition in a combination of cream and black inks, and then working over the image freehand with encre de chine. Once this first stage had dried Picasso 'washed' the entire image with water; where the ink had lain on a printed area it would run off revealing the linocut beneath, but where it had sunken into the bare paper the china ink remained, heightening the original design with increased contrast. Each épreuve rincée displays a sense of flamboyance and immediacy which capture Picasso's mature confidence.
Befitting of his lofty surroundings, the present composition deliberately echoes portraits from the Old Masters, yet Picasso has used those conventions precisely as a springboard for this gestural adventure in new techniques. Tableau de famille is an important example from one of Picasso's most experimental series known as the épreuves rincées (rinsed proofs). Executed in the early 1960s, the rincé images were produced by the artist firstly printing a linocut composition in a combination of cream and black inks, and then working over the image freehand with encre de chine. Once this first stage had dried Picasso 'washed' the entire image with water; where the ink had lain on a printed area it would run off revealing the linocut beneath, but where it had sunken into the bare paper the china ink remained, heightening the original design with increased contrast. Each épreuve rincée displays a sense of flamboyance and immediacy which capture Picasso's mature confidence.