PICASSO, Pablo, Crâne de Chèvre Sur la Table (Goat’s Skull on the Table), 1953
"Yet Cubism and Modern art weren't either scientific or intellectual; they were visual and came from the eye and mind of one of the greatest g… [Read biography »]
Signed Pablo Picasso (1881 - 1973), Original Color Picasso Etching & Aquatint, Crâne de Chèvre Sur la Table (Goat’s Skull on the Table), 1953  |
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| Artist: | Picasso, Pablo (1881 - 1973) |
|---|---|
| Title: | Crâne de Chèvre Sur la Table (Goat’s Skull on the Table), 1953 |
| Medium: | Original Color Picasso Etching & Aquatint |
| Image Size: | 25 5/8 in x 20 in (65.1 cm x 50.8 cm) |
| Sheet Size: | 30 in x 22 in (76.2 cm x 55.9 cm) |
| Framed Size: | 44 1/2 in x 39 1/2 in (113.03 cm x 100.3 cm) |
| Signed: | Hand signed by Pablo Picasso (1881 - 1973) in pencil in the lower right margin |
| Edition: | Numbered 66/150 in pencil in the lower left margin with embossed publisher’s blindstamp, Atelier Lacourière, Paris in the lower left edge of the sheet |
| Condition: | A bold impression with a distinct plate mark; in very good condition with rich colors |
Price :Item# 2162 | $37,000 Happy New Year! To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
Created in January 17 – 20, 1953, this color etching and aquatint is after an original oil on paper by Pablo Picasso, published by Lacourière, Paris. Hand signed by Pablo Picasso (1881 – 1973) in the lower right margin, this work has been printed on Rives wove watermarked paper. This is considered a 2nd State Lacourière impression and numbered 66/150 in pencil in the lower left margin. Beautifully shaded and captivating in nature, this work by Pablo Picasso echoes techniques of cubism, while melding realistic detail with trompe l’oeil effects. Our goat’s skull is intriguing and mysterious, its highlighting created in white to illuminate its eye, parts of its jaw, and menacing horns. The elaborate background shading acts as a cushiony, dark bed of light as the skull props itself against the surface of the table. The angles, drop shadows, and dramatic lighting compels the desire to walk around the object, to relish in every dimension and angle the viewer can admire the piece. Catalogue Raisonné & COA: 1. Baer, B. (1988). Picasso, Peintre-Graveur Tome IV Catalogue Raisonné de l’œuvre grave et des monotypes. Editions Kornfeld: Berne. Listed and illustrated as catalogue raisonné no. 903 on pg. 203 (Lacourière State II). 2. Bloch, G. (1984). Pablo Picasso, Tome I Catalogue de l’œuvre grave et lithographié 1904 – 1967. Editions Kornfeld et Cie: Berne. Similar piece listed and illustrated as catalogue raisonné no. 696 on pg. 159. 3. Cramer, P., et. al. (1983). Pablo Picasso, The Illustrated Books: Catalogue Raisonné. Patrick Cramer, Publisher: Geneva. Listed and illustrated as catalogue raisonné no. 29 on pgs. 86-7. About the Framing: | |
| Style: | 20th Century Modern Art, Modern Artist, Cubism, Cubist |
Biography of Pablo Picasso
Pablo Picasso (1881 - 1973)
"Yet Cubism and Modern art weren't either scientific or intellectual; they were visual and came from the eye and mind of one of the greatest geniuses in art history. Pablo Picasso, born in Spain, was a child prodigy who was recognized as such by his art-teacher father, who ably led him along. The small Museo de Picasso in Barcelona is devoted primarily to his early works, which include strikingly realistic renderings of casts of ancient sculpture.
"He was a rebel from the start and, as a teenager, began to frequent the Barcelona cafes where intellectuals gathered. He soon went to Paris, the capital of art, and soaked up the works of Manet, Gustave Courbet, and Toulouse-Lautrec, whose sketchy style impressed him greatly. Then it was back to Spain, a return to France, and again back to Spain - all in the years 1899 to 1904.
"Before he struck upon Cubism, Picasso went through a prodigious number of styles - realism, caricature, the Blue Period, and the Rose Period. The Blue Period dates from 1901 to 1904 and is characterized by a predominantly blue palette and subjects focusing on outcasts, beggars, and prostitutes. This was when he also produced his first sculptures. The most poignant work of the style is in Cleveland's Museum of Art, La Vie (1903), which was created in memory of a great childhood friend, the Spanish poet Casagemas, who had committed suicide. The painting started as a self-portrait, but Picasso's features became those of his lost friend. The composition is stilted, the space compressed, the gestures stiff, and the tones predominantly blue. Another outstanding Blue Period work, of 1903, is in the Metropolitan, The Blind Man's Meal. Yet another example, perhaps the most lyrical and mysterious ever, is in the Toledo Museum of Art, the haunting Woman with a Crow (1903).
"The Rose Period began around 1904 when Picasso's palette brightened, the paintings dominated by pinks and beiges, light blues, and roses. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. One of the premier works of this period is in Washington, D.C., the National Gallery's large and extremely beautiful Family of Saltimbanques dating to 1905, which portrays a group of circus workers who appear alienated and incapable of communicating with each other, set in a one-dimensional space.
"In 1905, Picasso went briefly to Holland, and on his return to Paris, his works took on a classical aura with large male and fernale figures seen frontally or in distinct profile, almost like early Greek art. One of the best of these of 1906 is in the Albright-Knox Gallery in Buffalo, NY, La Toilette. Several pieces in this new style were purchased by Gertrude (the art patron and writer) and her brother, Leo Stein.
Picasso enjoyed creating his art on many media. From paintings to etchings to ceramics, all of his works are a testament to his skills. There are even Picasso prints that are worth more than a unique original work since many of his prints are so amazing.
