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拍品专文
"I want to say the nude. I don't want to do a nude as a nude. I want only to say breast, say foot, say hand or belly. To find the way to say it—that's enough. I don't want to paint the nude from head to foot..."
- Pablo Picasso
Amidst the cavalcade of musketeers that populated his work, scenes of female figures accompanied by painters—or as in the present work, languidly reclining—flowed from the artist’s hand in passionate, expressive and often highly erotic art works. Executed on 27 December 1966, during this period of immense productivity, Femme nue couchée is one such work. In the present example, "the artist conveyed the monumentality of the woman's body by fitting it tightly within the rectangular format of the sheet" explained Isabelle Dervaux. "The contortions of the body are not only intended to expose different parts that cannot realistically be seen at the same time, they also result from pure formal games, as in the humorous treatment of the toes, which seamlessly continue the blankets pattern of parallel stripes" (I. Dervaux, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, exh. cat., op. cit., p. 124).
The subject of the reclining female nude served as a perennial theme throughout Picasso’s career. One of the most enduring subjects in the history of art, the nude had been the site of some of Picasso’s most iconic and iconoclastic experimentations from the beginning of his career. From the early Nu couché of 1901 (Zervos, vol. 1, no. 106; Centre Pompidou, Paris), to the exultant expressions of eroticism in the recumbent nudes of the artist’s lover, Marie-Thérèse Walter, in the early 1930s, this motif never lost its allure for the artist. Erotic and adored, fearful or aggressive, dismembered, voluptuous or gaunt, the women Picasso depicted explored the innumerable facets of femininity. He portrayed women like no other artist, plundering the female psyche for artistic inspiration: “Picasso is the painter of woman: goddess of antiquity, mother, praying mantis, blown-up balloon, weeper, hysteric, body curled in a ball or sprawled in sleep… no painter has ever gone so far unveiling the feminine universe in all the complexity of its real and fantasy life” (M-L. Bernadac, “Picasso 1953-1972: Painting as Model,” Late Picasso, exh. cat., London, 1988, p. 80).
Unlike Henri Matisse and most early 20th century painters of the female figure, Picasso rarely used professional models, except at the beginning of his career. His chief model was always "the woman he loved, with whom he shared his daily life. What he painted, then, was not a model woman but the woman-as-model. This difference had consequences in both the emotional and pictorial realm, for the beloved woman is the painting, and the painted female is the beloved woman; thus, no distance is possible" (M.-L. Bernadac, "The Painter and His Model," Ultimate Picasso, New York, 2000, p. 440).
- Pablo Picasso
Amidst the cavalcade of musketeers that populated his work, scenes of female figures accompanied by painters—or as in the present work, languidly reclining—flowed from the artist’s hand in passionate, expressive and often highly erotic art works. Executed on 27 December 1966, during this period of immense productivity, Femme nue couchée is one such work. In the present example, "the artist conveyed the monumentality of the woman's body by fitting it tightly within the rectangular format of the sheet" explained Isabelle Dervaux. "The contortions of the body are not only intended to expose different parts that cannot realistically be seen at the same time, they also result from pure formal games, as in the humorous treatment of the toes, which seamlessly continue the blankets pattern of parallel stripes" (I. Dervaux, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, exh. cat., op. cit., p. 124).
The subject of the reclining female nude served as a perennial theme throughout Picasso’s career. One of the most enduring subjects in the history of art, the nude had been the site of some of Picasso’s most iconic and iconoclastic experimentations from the beginning of his career. From the early Nu couché of 1901 (Zervos, vol. 1, no. 106; Centre Pompidou, Paris), to the exultant expressions of eroticism in the recumbent nudes of the artist’s lover, Marie-Thérèse Walter, in the early 1930s, this motif never lost its allure for the artist. Erotic and adored, fearful or aggressive, dismembered, voluptuous or gaunt, the women Picasso depicted explored the innumerable facets of femininity. He portrayed women like no other artist, plundering the female psyche for artistic inspiration: “Picasso is the painter of woman: goddess of antiquity, mother, praying mantis, blown-up balloon, weeper, hysteric, body curled in a ball or sprawled in sleep… no painter has ever gone so far unveiling the feminine universe in all the complexity of its real and fantasy life” (M-L. Bernadac, “Picasso 1953-1972: Painting as Model,” Late Picasso, exh. cat., London, 1988, p. 80).
Unlike Henri Matisse and most early 20th century painters of the female figure, Picasso rarely used professional models, except at the beginning of his career. His chief model was always "the woman he loved, with whom he shared his daily life. What he painted, then, was not a model woman but the woman-as-model. This difference had consequences in both the emotional and pictorial realm, for the beloved woman is the painting, and the painted female is the beloved woman; thus, no distance is possible" (M.-L. Bernadac, "The Painter and His Model," Ultimate Picasso, New York, 2000, p. 440).