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拍品专文
Pablo Picasso painted Paysage in June 1933, during a period he was spending largely based at the Château de Boisgeloup, which he had purchased only a few years earlier. This picture is a colour-filled view of what appears to be a fence or trellis in a garden. There is a rich blue that filters through the greenery that dominates much of the canvas. At the same time, the fronds of the plants and the various leaves reveal the sheer energy of the artist as he applied the brush, here dartingly and there sweepingly, to the canvas to capture these organic forms as well as the more geometric criss-crossing of the trellis-like form that adds a man-made element of punctuation to the predominantly organic motifs depicted.
Many times during his life, when Picasso acquired a new property, he would enact a seigniorial urge in painting his surroundings, his environs and importantly his domain. This may well be the case in Paysage, a picture filled with flowers and foliage, brimming with signs of lush fertility. Picasso had bought the Château de Boisgeloup, where Paysage was painted, half way through 1930, having long sought a retreat to which he could retire from the hurly burly of life in Paris (see J. Richardson, A Life of Picasso: The Triumphant Years 1917-1932, London, 2007, pp. 414-15). Boisgeloup, near Gisors, was easily reached from the French capital and was also in the heart of the area made famous by the Impressionists, many of whom had lived in the vicinity. Picasso's purchase of the château allowed various releases. His wife Olga Khokhlova, often considered to have been a socially aspiring force in Picasso's life, was now the châtelaine, able to entertain people during the weekends. At the same time, Picasso was left in relative seclusion a lot of the time, able to focus both on his work and on his mistress, Marie-Thérèse Walter.
The subject of some of his most sensual portraits, Marie-Thérèse was young and filled with vitality, and this appears to have translated itself into Picasso's works of the period. Certainly, it was at Boisgeloup that Picasso made some of his most famous sculptures, the monumental heads sporting Marie-Thérèse's features which he made there in 1931; likewise, while Richardson points out that, as the country home of both Picasso and his wife, Boisgeloup was far from being the secret lovers' getaway that is sometimes portrayed, he nonetheless spent a great deal of time there with Marie-Thérèse and painted some of his most sensual portraits of her there. Boisgeloup itself, then, was the backdrop for some of his most inspired works, and it is the atmosphere of romance and sensuality of this celebrated period that fills Paysage.
Many times during his life, when Picasso acquired a new property, he would enact a seigniorial urge in painting his surroundings, his environs and importantly his domain. This may well be the case in Paysage, a picture filled with flowers and foliage, brimming with signs of lush fertility. Picasso had bought the Château de Boisgeloup, where Paysage was painted, half way through 1930, having long sought a retreat to which he could retire from the hurly burly of life in Paris (see J. Richardson, A Life of Picasso: The Triumphant Years 1917-1932, London, 2007, pp. 414-15). Boisgeloup, near Gisors, was easily reached from the French capital and was also in the heart of the area made famous by the Impressionists, many of whom had lived in the vicinity. Picasso's purchase of the château allowed various releases. His wife Olga Khokhlova, often considered to have been a socially aspiring force in Picasso's life, was now the châtelaine, able to entertain people during the weekends. At the same time, Picasso was left in relative seclusion a lot of the time, able to focus both on his work and on his mistress, Marie-Thérèse Walter.
The subject of some of his most sensual portraits, Marie-Thérèse was young and filled with vitality, and this appears to have translated itself into Picasso's works of the period. Certainly, it was at Boisgeloup that Picasso made some of his most famous sculptures, the monumental heads sporting Marie-Thérèse's features which he made there in 1931; likewise, while Richardson points out that, as the country home of both Picasso and his wife, Boisgeloup was far from being the secret lovers' getaway that is sometimes portrayed, he nonetheless spent a great deal of time there with Marie-Thérèse and painted some of his most sensual portraits of her there. Boisgeloup itself, then, was the backdrop for some of his most inspired works, and it is the atmosphere of romance and sensuality of this celebrated period that fills Paysage.