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拍品专文
Executed in 1920, Le guéridon dates from a fascinating period in Picasso’s career, when the artist was alternating between a variety of artistic styles, creating cubist compositions, Neo-Classical, statuesque nudes, as well as naturalistic line drawings inspired by the great French master Ingres. Le guéridon is one of a number of cubist still-lifes that Picasso painted between 1919 and 1920 in which objects are presented on an ornate pedestal table, a guéridon, allowing the artist to create dynamically structured compositions.
Le guéridon demonstrates Picasso’s continued interest in the still-life genre and the depiction of objects within space; a concept that had absorbed him since his early cubist experiments. Some of Picasso’s most often-used still-life objects, a guitar, and a glass, are arranged on a biomorphically shaped table. The background of the image consists of horizontal stripes, which contrast with the round curves of the table. Facets of two-dimensional forms and colour interlock and overlap, so creating a tightly constructed composition that is adorned with jewel-like facets of colour.
The intricately composed structure of Le guéridon displays Picasso’s mastery of Synthetic Cubism. This form of Cubism had, by the end of the First World War, become characterised by a new sense of order and balance, influenced by the notion of the ‘rappel à l’ordre’ or ‘call to order’, a distinct artistic movement that ran parallel to Cubism, and which embodied an aesthetic of Classicism, unity and reconstruction in reaction to the catastrophic chaos and devastation wrought by the war. In Le guéridon, the repeated colours and patterns, such as the stripes of the background, which are echoed in the structure of the guitar, imbue the image with a sense of rhythmic harmony. Moreover, the black frame that surrounds two sides of the composition further serves to invoke a sense of spatial control and stability.
The bright, vibrant colours seen in Le guéridon evoke the summers that Picasso had been spending in the sun-drenched, luminous landscape of the South of France. In 1919 the artist had travelled to Saint-Raphäel on the French Riviera for a second honeymoon with his new wife, Russian ballet dancer, Olga Khokhlova. While there, he created a number of still-life guéridon paintings set in front of an open window, which were infused with the bold colours of the Mediterranean. This was a period of happiness and contentment for the artist, who was enjoying great artistic renown, as well as financial security due to a contract with Parisian art dealer Paul Rosenberg. Now living in the fashionable rue la Boètie in Paris, his days of impoverished bohemianism were behind him. From a period when Picasso was gracefully alternating between the two dominant styles of the post-war Parisian avant-garde, Cubism and Neo-Classicism, Le guéridon is an example of the artist’s indomitable creative power and his mastery of the radical cubist discoveries that he had pioneered.
Le guéridon demonstrates Picasso’s continued interest in the still-life genre and the depiction of objects within space; a concept that had absorbed him since his early cubist experiments. Some of Picasso’s most often-used still-life objects, a guitar, and a glass, are arranged on a biomorphically shaped table. The background of the image consists of horizontal stripes, which contrast with the round curves of the table. Facets of two-dimensional forms and colour interlock and overlap, so creating a tightly constructed composition that is adorned with jewel-like facets of colour.
The intricately composed structure of Le guéridon displays Picasso’s mastery of Synthetic Cubism. This form of Cubism had, by the end of the First World War, become characterised by a new sense of order and balance, influenced by the notion of the ‘rappel à l’ordre’ or ‘call to order’, a distinct artistic movement that ran parallel to Cubism, and which embodied an aesthetic of Classicism, unity and reconstruction in reaction to the catastrophic chaos and devastation wrought by the war. In Le guéridon, the repeated colours and patterns, such as the stripes of the background, which are echoed in the structure of the guitar, imbue the image with a sense of rhythmic harmony. Moreover, the black frame that surrounds two sides of the composition further serves to invoke a sense of spatial control and stability.
The bright, vibrant colours seen in Le guéridon evoke the summers that Picasso had been spending in the sun-drenched, luminous landscape of the South of France. In 1919 the artist had travelled to Saint-Raphäel on the French Riviera for a second honeymoon with his new wife, Russian ballet dancer, Olga Khokhlova. While there, he created a number of still-life guéridon paintings set in front of an open window, which were infused with the bold colours of the Mediterranean. This was a period of happiness and contentment for the artist, who was enjoying great artistic renown, as well as financial security due to a contract with Parisian art dealer Paul Rosenberg. Now living in the fashionable rue la Boètie in Paris, his days of impoverished bohemianism were behind him. From a period when Picasso was gracefully alternating between the two dominant styles of the post-war Parisian avant-garde, Cubism and Neo-Classicism, Le guéridon is an example of the artist’s indomitable creative power and his mastery of the radical cubist discoveries that he had pioneered.