Study for Le déjeuner

細節

Pablo Picasso (1881-1973)
Study for Le déjeuner
signed, dated and numbered 'Picasso 15.6.62.I' (lower left)
pencil on paper
10 5/8 x 16½ in. (27 x 42 cm.)
Drawn on 15 June 1962

來源

Galerie Louise Leiris [Daniel-Henry Kahnweiler], by whom acquired from the artist.
Acquired from the above by the father of the present owner in May 1968, and thence by descent.

出版

C. Zervos, Pablo Picasso, vol. 20, Oeuvres de 1961 à 1962, Paris, 1968, no. 271 (illustrated p. 122).
A. & M. Glimcher, Je suis le cahier. The Sketchbooks of Picasso, Boston/New York, 1986, no. 163.
The Picasso Project (ed.), Picasso's Paintings, Watercolors, Drawings and Sculpture, The Sixties I, 1960-1963, San Francisco, 2002, no. 62-098 (illustrated p. 242).

注意事項

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品專文

From August 1959 to December 1961, Picasso produced a series of works inspired by Manet's iconic Le déjeuner sur l'herbe (1863, Musée d'Orsay, Paris).
When he brought this series to a conclusion, he had painted 27 canvases and made approximately 140 drawings. Marie-Laure Bernadac has written: 'Le déjeuner sur l'herbe gave Picasso the opportunity to work on an outdoor scene after having done so many interiors (the harem, the studio). It was also an indirect homage to Cézanne's Grandes Baigneuses and to the Joie de Vivre by Matisse. The picture also provided a chance to study the female nude. Picasso drew these figures in every possible posture, manipulating them as he saw fit. The full, schematic and 'punched out forms' of Manet's characters were translated by Picasso into a kind of rounded tube. As he worked on the Déjeuner, Picasso managed to invent a new morphology. The central characters - the seated nude female and the man conversing with her - are involved in a dialogue that subtly becomes that of the painter with his model.' (in The ultimate Picasso, New York, 2000, p. 430)