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拍品专文
Picasso took up the technique of linocut late in his career, at the age of 78. Although linocuts form a relatively small part of Picasso's output as a printmaker (approximately 150 prints from a total exceeding two thousand), he produced some of his most outstanding compositions by this method, in a short burst of activity from 1958 to 1963.
Before Picasso abandoned the linocut process in 1963 he produced a group of prints which has come to be known as épreuves rincées (rinsed proofs). They were made by printing the linoblock in creamy white ink, then brushing the printed impression with encre de Chine. Once this had dried he would then rinse the print with water. Where the ink sat on top of the printed surface it was washed away, while in the places where the paper was exposed the ink penetrated and was absorbed by the sheet. As we can observe in the present portrait of Jacqueline, this unusual technique has the quality of a delicate brush and ink drawing. Each impression is unique as the process of applying the brushed ink and rinsing creates different effects in each the image.
Baer records the existence of only a handful of impressions of Femmes Au Miroir, of which only four are signed by the artist and one is dated 28.6.64 on the reverse . All are in private collections.
Before Picasso abandoned the linocut process in 1963 he produced a group of prints which has come to be known as épreuves rincées (rinsed proofs). They were made by printing the linoblock in creamy white ink, then brushing the printed impression with encre de Chine. Once this had dried he would then rinse the print with water. Where the ink sat on top of the printed surface it was washed away, while in the places where the paper was exposed the ink penetrated and was absorbed by the sheet. As we can observe in the present portrait of Jacqueline, this unusual technique has the quality of a delicate brush and ink drawing. Each impression is unique as the process of applying the brushed ink and rinsing creates different effects in each the image.
Baer records the existence of only a handful of impressions of Femmes Au Miroir, of which only four are signed by the artist and one is dated 28.6.64 on the reverse . All are in private collections.