Offering crisp tonal values, this work represents Picasso extensive work on the theme of the Harlequin. A source of fascination for the artist, this image offers a pensive representation that combines both the artist realistic and cubist styles, creating an iconic image of Picasso's early career.

Originally painted in 1917, this work was printed in 1966 from the
'avant la lettre' edition. The work is signed and numbered in pencil, Picasso appears in the lower right and the edition number XXIV/LX and publisher's blindstamp appear along the lower left. Of this particular image only 60 signed impressions were made.

Please note: Picasso had made only eight blue period color print editions during his lifetime. Of those, five were of editions of only 60, and two were of editions of 200. So ALL blue period style prints are extremely scarce. This one is among the nicest.

The figure's costume and the brilliant red drape at the left of the image, infuse the work with a quality of dramatics. Averting his eyes from the audience the figure looks to the side of the stage with his left arm resting along the banister, as if he was watching his fellow performers. In all Picasso creates an intimate character study, which focuses on the individuality of the figure rather than the entertaining aspects of his assumed persona.

Of this work Rosa Maria Subirana states, "in this period Cubism and Classicism exist side by side stemming from the influences of the theatre and ballet together with ancient Roman art…this Harlequin represents a variation on his traditional theme. It constitutes possibly his best work during that time" (Rodrigo, 1482),

Rodrigo goes on to state, "The "pensive Harlequin," as O'Brian calls it, is a character linked with Picasso's past, mainly his Neo-Impressionist and Pink Periods. In this painting, the Harlequin reflects a serenity and, at the same time, a sadness that might correspond to Picasso's emotional state at the time (1917), when his love affair with Olga had still not been resolved" (Rodrigo, 1482).

DOCUMENTED AND ILLUSTRATED IN:
1) Luis Carlos Rodrigo, Picasso In His Posters: Image and Work, Volume 3, 1992, listed on page 1481 as plate 151.
2) Czwiklitzer, Christopher, Picasso's Posters, 1971, listed as cat no 230 with details on pg 341.

About the Framing:
Museum grade conservation framed in a complementary moulding with silk mats and optical grade Plexiglas.