Jeune Garçon nu à cheval, 1906

Transcription

Jeune Garçon nu à cheval, 1906
Pablo Picasso
Jeune Garçon nu à cheval, 1906
E d i t e d by M a r ily n M c C u l ly
dickinson
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Pablo Picasso
Jeune Garçon nu à cheval, 1906
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Pablo Picasso
Jeune Garçon nu à cheval, 1906
E d i t e d by M a r ily n M c C u l ly
Te xt by M ol ly D or k in
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Pablo Picasso
Jeune Garçon nu à cheval, 1906
Contents
Foreword
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Picasso and Gauguin
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Jeune Garçon nu à cheval, 1906
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Other Modern and Contemporary Influences
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Introduction
44
The Impact of El Greco
15
Picasso in Paris
46
Iberian and Preclassical Greek Sculpture
16
The Bateau Lavoir
48
Picasso’s Use of Old Canvases
20
“La Belle Fernande”
48
Later Provenance
25
Kees van Dongen
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Conclusion
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The Rose Period
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List of Plates
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The Watering Place (1906)
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Acknowledgements
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The Watering Place Series
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Foreword
Dickinson is delighted to present this survey of ‘Picasso at the Bateau
Lavoir’ for Frieze Masters. The centrepiece, Jeune Garçon nu à cheval, with
its artistically significant subject matter, and its remarkable provenance, is an
evocative example of Picasso’s genius during this extremely influential and
fruitful period in his early career. The ramshackle Bohemian enclave of the
Bateau Lavoir bore witness to the intensely creative energy of Picasso and
many of his fellow artists at the start of the 20th century. Our presentation
demonstrates how receptive and indebted Picasso was to the work of other
artists, transforming traditional techniques into new, original and unique
representations, the results of which still reverberate strongly today.
Researching and bringing into fruition ‘Picasso at the Bateau Lavoir’ has
been an exciting project. Due to the rarity of Rose Period paintings, this
presentation has only been possible with the generous contributions of a
number of anonymous collectors worldwide, to whom we are immeasurably
grateful; such generosity has allowed us to illustrate in further depth the
influences Picasso absorbed during these stimulating and formative years, his
friendship with Van Dongen, and his relationship with the first real love of his
life, Fernande Olivier.
It has been an honour to collaborate on this project with the renowned
and world acclaimed Picasso scholar, Marilyn McCully. Marilyn’s name is
synonymous with Picasso scholarship across the globe and her vast knowledge
of Picasso’s early years, as well as her disciplined editing guidance, have been
vital to the success of this project. It has been an insightful and thoroughly
enjoyable experience working with Marilyn and we thank her most sincerely.
Emma Ward
Managing Director, Dickinson
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Pablo Picasso
Jeune Garçon nu à cheval, 1906
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Pablo Picasso
(1881 – 1973)
Jeune Garçon nu à cheval, 1906
Signed lower left Picasso.
Oil on canvas
55 x 38 cm. (21½ x 14¾ in.)
Provenance
Kees van Dongen (1877 – 1968), Paris, c. 1906 ; a gift from the artist in exchange for a painting by
Van Dongen, La Vigne (1905).
Galerie Charpentier, Paris, by 1948.
Capt. Edward Molyneux, Paris and London.
Marlborough Fine Art, London, c. 1950 – 1957.
Sir Charles Clore, London, bought from the above on 13 March 1957.
Private Collection, Monaco & London.
Private Collection.
Literature
D. Sutton, Picasso, peintures, époques bleue et rose, Paris, 1955 (illus. pl. IX).
P. Daix & G. Boudaille, The Blue and Rose Periods, A Catalogue Raisonné 1900 – 1906, London, 1967, no. XIV.9
(illus. p. 287).
P. Lecaldano, L’Opera completa di Picasso blu e rosa, Milan, 1968, no. 237 (illus. p. 106).
C. Zervos, Pablo Picasso, Vol. XXII, Supplément aux Années 1903 – 1906, Paris, 1970, no. 236 (illus. pl. 85).
J. Palau i Fabre, Picasso, The Early Years 1881 – 1907, New York, 1981, no. 1199 (illus. p. 435).
A. Wofsy, ed., The Picasso Project, Picasso’s Paintings, Watercolors, Drawings and Sculpture, San Francisco, 1991, no. 06:18.
H. Seckel-Klein, Picasso und seine Sammlung, Munich, 1998, p. 232.
M. McCully, Picasso in Paris, 1900 – 1907: Eating Fire, exh. cat. Amsterdam and Barcelona, 2011, pp. 197, 240 (illus. pl. 95).
J. Barón, El Greco & la pintura moderna, exh. cat. Madrid, 2014, pp. 162, 317 (illus. fig. 97).
Exhibited
Paris, Galerie Charpentier, Chevaux et cavaliers, 1948, no. 99 (illus.)
London, Marlborough Fine Art, The French Masters of the 19th and 20th Centuries, Nov. – Dec. 1950, no. 35 (illus.)
London, Marlborough Fine Art, A Great Period of French Painting, June – July 1963, no. 23.
Amsterdam, Van Gogh Museum, Picasso in Paris, 1900 – 1907: Eating Fire, 18 Feb. – 29 May 2011; this exhibition later
travelled to Barcelona, Museu Picasso, 30 June – 15 Oct. 2011.
Madrid, Museo Nacional del Prado, El Greco & la pintura moderna, 24 June – 5 Oct. 2014.
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Introduction
Works from Picasso’s Rose Period are not only remarkably beautiful, but they
are also extremely scarce on the market. They were painted during a brief
period that began to take shape late in 1904 and ended some time in 1906.
These were years of both personal contentment and artistic innovation, falling
chronologically between the melancholy Blue Period and the so-called “ProtoCubist” or “African” period, during which time Picasso painted the iconoclastic
Les Demoiselles d’Avignon (Z.2,18; The Museum of Modern Art, New York). One
of only two oil paintings related to Picasso’s unrealised group composition
L’Abreuvoir (The Watering Place), and the only one remaining in private hands,
Jeune Garçon nu à cheval is a rare and significant Rose Period painting. While living
in the Bateau Lavoir, a Bohemian enclave in Montmartre, Picasso enjoyed the
company of his fellow artists and writers, the beginnings of commercial success
with the dealer Ambroise Vollard, and the love of his beautiful companion
Fernande Olivier. With Fernande – the first of the artist’s great loves – acting
as his muse, Picasso experienced one of the happiest periods of his life, and
his mood is reflected in the tender and luminous works he produced. He took
full advantage of his access to a wealth of inspiration, with the opportunity
to see works by modern and contemporary artists in Vollard’s gallery and in
the growing collection of his friends and patrons Leo and Gertrude Stein.
Picasso also wandered the corridors of the Louvre, admiring works by the
old masters and studying a cache of recently-excavated Iberian antique stone
heads. In Jeune Garçon nu à cheval, Picasso synthesised a number of these disparate
influences, ranging from the South Pacific landscapes of Paul Gauguin and the
weighty figures of Paul Cézanne to the heroic nude kouroi of preclassical Greek
sculpture. The recent discovery of a Blue Period composition underneath the
visible surface of this canvas, as well as the painting’s fascinating provenance,
make Jeune Garçon nu à cheval a genuinely intriguing example of Picasso’s genius
during this extremely fertile period in his early career.
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Picasso in Paris
Pablo Picasso was just nineteen when he left Spain in October 1900, shortly
after earning critical praise for his first exhibition in Barcelona. Together with
his friend Carles Casagemas, the ambitious young painter set off for Paris, the
vibrant and buzzing cultural capital of Europe. Picasso and Casagemas were
immediately drawn to Montmartre, a hilly neighbourhood on the outskirts of
Paris that was home to many members of the artistic avant-garde. Picasso soon
made the acquaintance of the Catalan Pere Mañach, who made a living scouting
new arrivals to the community of Spanish artists and promoting them to galleries
in Montmartre. It was Mañach who engineered an introduction to the successful
dealer Ambroise Vollard, who in turn arranged a joint exhibition for Picasso
and the Basque painter Francisco Iturrino at his premises on the Rue Laffitte.
The exhibition at Vollard’s, which opened on 24 June 1901, attracted critical
attention, and roughly half the works sold.
The year 1901 also witnessed a dramatic change in Picasso’s manner, and
a new sobriety emerged shortly after the show at Vollard’s, marking the start
of the artist’s sombre Blue Period. Picasso’s mournful mood was in large part
prompted by the suicide of Casagemas in February 1901, while Picasso was
in Madrid. As John Richardson writes, “Casegemas’s suicide literally coloured
Picasso’s work” (J. Richardson, A Life of Picasso, vol. I: 1881-1906, London, 1991,
p. 182). Picasso himself admitted to his biographer Pierre Daix: “It was thinking
about Casagemas’s death that started me painting in blue” (quoted in P. Daix,
La vie de peintre de Pablo Picasso, Paris, 1977, p. 47). In late spring 1904, Picasso
and his Spanish friend Sebastià Junyer Vidal moved to a studio in the Bateau
Lavoir, taking over the premises from the Basque sculptor Paco Durrio, who
was moving. Durrio took with him not only his collection of works by his friend
Paul Gauguin (abandoned when Gauguin departed for Tahiti) but also all of
the furniture, apart from the bed, which Junyer Vidal claimed for himself as he
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was paying the rent: 15 francs a month. Picasso was obliged to sleep on a rug
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The Bateau Lavoir
on the floor. Fortunately, Junyer Vidal returned to Barcelona
were poor. They leave behind the best of themselves in the
after just a few weeks at the Bateau Lavoir, leaving Picasso
places where their life was such a struggle, a struggle so
with the studio to himself. Having at this point made three
essential to their artistic development (Journal of Fernande
previous trips to Paris, Picasso finally had a permanent home
Olivier, Autumn 1909; quoted in M. McCully ed., Loving Picasso,
in Montmartre.
New York, 2001, p. 251).
The Bateau Lavoir was nicknamed for its resemblance to one
It would be difficult to overstate the importance of the Bateau
of the dirty, creaking washing-boats moored on the nearby
Lavoir as a vital centre of artistic activity. As Peter Read has
Seine. Situated at no. 13 Rue Ravignan (on Place Ravignan,
observed, the “new sense of community, centred on his studio,
now Place Émile Goudeau), this ramshackle building became
helped Picasso break away from increasingly dated bohemian
the residence and unofficial clubhouse of a number of
nostalgia and reconnect with the trail-blazing spirit which had
Bohemian artists, authors and art dealers. Over the years, it
brought him to Paris in the first place” (P. Read, “All Fields
served as home to Juan Gris, Max Jacob, Kees van Dongen,
of Knowledge”, in Eating Fire: Picasso in Paris, 1900 – 1907,
Amedeo Modigliani (briefly) and many others. The time
exh. cat. 2011, p. 158). The Bateau Lavoir not only witnessed
Picasso spent living in the Bateau Lavoir represented a happy
some of Picasso’s greatest early masterpieces, but it was also
and productive era. Though he was still struggling financially,
instrumental in bringing about the first of his great love affairs.
he was surrounded by friends and painting daily in a fever of
creativity and inspiration. As Fernande later observed: “It is
certainly true, as people often say, that once artists become
successful they look back with regret on the days when they
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“La Belle
Fernande”
“I think that yesterday I may
have embarked on another stupid
adventure...”
(Journal of Fernande Olivier, August 1904).
Born Amélie Lang, Picasso’s model and muse Fernande Olivier is immortalised
in his paintings, drawings and sculptures, created during the course of their
passionate and tempestuous relationship. Much of our knowledge of this period
in Picasso’s life comes from Fernande’s memoirs, excerpts first published as
Picasso et ses amis in 1933. (Many years later, long after Picasso and Fernande had
separated, he referred to her memoirs as “the only really authentic picture of
the Bateau Lavoir years”; quoted in op. cit., p. 283). Fernande, who was staying
with friends at the time of Picasso’s arrival, described the Bateau Lavoir in
colourful terms: “It’s a weird, squalid building echoing from morning to night
with every kind of noise: discussion, singing, shouting, calling, the sound of
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buckets used to empty the toilet clattering noisily on the floor, the sound of
pitchers placed noisily on the grill below the faucet, doors slammed, suggestive
moaning coming through the closed doors of the studios, which have no walls
except the partitions dividing them, laughter, tears; you can hear everything.
Everything echoes around the building and no one has any inhibitions.” (Journal
of Fernande Olivier, Autumn 1900; quoted in op. cit., p. 82). Fernande herself
was an acknowledged beauty, described by Richardson as having “a mass of
reddish hair, green, almond-shaped eyes...for all that she was indolent, selfindulgent and promiscuous, she was also beguiling, easy-going and affectionate”
(J. Richardson, op. cit., vol. I, p. 310).
Having observed one another coming and going in the hallways for several months,
Fernande and Picasso finally met in August 1904, when they both rushed to seek
shelter indoors during a sudden thunderstorm. Picasso invited Fernande to visit
his studio, and she recalled her initial impression: “His paintings are astonishing.
I find something morbid in them, which is quite disturbing, but I also feel drawn
to them.” (Journal of Fernande Olivier, August 1904; quoted in op. cit., p. 139).
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Picasso, for his part, was smitten with Fernande from their
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first meeting, commemorating the encounter in an explicit
night and goes to bed at around six in the
drawing titled Les Amants (The Lovers) (August 1904; Z.22,104;
morning. As he’s in the habit of working
Musée national Picasso, Paris). Although it would be another
at night so as not to be disturbed, and he’s
year before she moved in with him, Fernande was as drawn
at his best at night, he complains about my
to the artist as she was to his paintings, and continued to visit
sleeping all the time. It’s true, I’m going to
him regularly. She moved into Picasso’s studio on 3 September
have to adapt so that I can be a little closer
1905, and the couple remained together until mutual jealousy
to Pablo when he’s ‘awake’!” (Journal of
led to a split in 1912. Fernande was soon as much in love with
Fernande Olivier, Autumn 1905; quoted in
Picasso as he with her – this, at last, was true love, despite
op. cit., p. 161)
the impoverished lifestyle and humble surroundings – and she
wrote not long after moving into the studio:
There are a number of very intimate drawings of Fernande
asleep, some of which include Picasso’s own figure watching
“I feel as though I’m beginning to live
her, as well as additional drawings of lovers such as Amoureux
my real life. Pablo loves me. I sleep a lot;
(Lovers) (fig. 13, c. 1905, PP.05,223; Private Collection).
I’ve been used to going to bed early after
my tiring days, so I still fall asleep around
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Pablo Picasso
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Kees van Dongen
Picasso and Fernande had an active social life in the Bateau Lavoir, and Fernande’s memoirs are
filled with recollections about their many friends and acquaintances. One such friend was the Dutch
painter Kees van Dongen, who moved into the Bateau Lavoir in December 1905 with his wife Guus
and their young daughter Dolly. The Van Dongen family remained for just over a year, until early in
1907. Fernande described the early days of the friendship in her journal:
“We’ve got to know a Dutch artist, Kees van Dongen,
who moved into the building with his wife and child
around Christmas. They’re very hospitable, as his wife
likes to be surrounded by friends... He spends his
evenings sketching in the local dancehalls and cafés and
is becoming steeped in the life of Montmartre. Their
little girl, who must be about two, calls Picasso ‘Tablo’
and spends her days with us.” (Journal of Fernande
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Olivier, February/March 1906; quoted in op. cit., p. 174)
Like Picasso, Van Dongen found a muse in Fernande, recalling, irreverently, “elle était jolie fille et
que j’avais sous la main, sans bourse délier” (“she was a pretty girl who was at hand, and I didn’t
even have to pay her”; quoted in L. Chaumeil, Van Dongen, Geneva, 1977, p. 96). The exact nature
of the relationship between Van Dongen and Fernande remains uncertain. Van Dongen exhibited
a number of portraits of Fernande, both clothed and nude, in 1908 at both the Kahnweiler and
Bernheim-Jeune galleries. Dolly van Dongen believed these to have been painted at her father’s studio
on Rue Lamarck, in late 1907 or early 1908, where he worked after his departure from the Bateau
Lavoir. Assuming this date is correct, the paintings would have been executed around the same time
as Picasso’s monumental 1907 canvas Les Demoiselles d’Avignon. Picasso and Fernande had briefly
separated, and she had moved out of his studio, having realised with dismay that his passion for his
art overshadowed his feelings towards her. Pierre Daix suggested that Fernande may have posed for
Van Dongen out of spite, though Richardson remains unsure, observing only that Fernande resented
Picasso’s obsession with the Demoiselles, notably absent from her memoirs (P. Daix, Picasso: Life and
Art, New York, 1993, p. 71; and J. Richardson, A Life of Picasso, vol. II: 1907 – 1917, London, 1996,
p. 20).
Sometime around 1906, Picasso and Van Dongen exchanged paintings, with Picasso giving Van
Dongen Jeune Garçon nu à cheval in exchange for a landscape entitled La Vigne (fig. 16, 1905; Musée
national Picasso, Paris). Van Dongen held on to Picasso’s picture for over 40 years. It can be seen
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hanging on the wall in a lithograph of Picasso in his Studio, one of a series of illustrations by Van
Dongen for French author Roland Dorgelès’ colourful 1949 memoir of life in Montmartre, Au beau
temps de la butte (fig. 17). Two other lithographs in the series are dedicated to Picasso and Fernande.
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The Rose Period
Describing Picasso’s manner in the summer of 1904,
in different roles: the self-dramatizing role of a saltimbanque,
Richardson writes: “Little by little the blue light that had
strolling player or circus performer, the picturesque outcast
permeated Picasso’s paintings for the last two years began to
at odds with conventional society; or the more equivocal role
lose its chill. Certain pictures are still excessively, exclusively
of harlequin, the player of tricks that alarm and mystify as
blue. But even that quintessential image of the Blue Period
well as entertain” (J. Richardson. op. cit. vol. I, p. 334). Many
...Woman with Helmet of Hair (1904; Z.I,233, Art Institute of
of Picasso’s renderings of saltimbanques and harlequins find
Chicago), with her indigo chignon and ice-blue skin, has
parallels in poems by Apollinaire, who was equally fascinated
lips of palest pink. Flesh tones become ruddier, and by the
by these poetic marginal figures. Picasso “saw in the patterns
middle of the summer there are even reddish backgrounds”
of their itinerant lives a parallel with the experience of the
(J. Richardson. op. cit. vol. I, p. 302). Though it is impossible
struggling artist, living on the margins of society and surviving
to draw definite boundaries between the various stages in
through art” (M. McCully, op. cit. p. 147). In images such as
Picasso’s artistic evolution, the ensuing change in his work is
Arlequin à cheval (Harlequin on a horse) (fig. 19, 1905; Z.1,423,
popularly known as the Rose Period, on account of the pink
Private Collection), the figure of a young harlequin riding a
hue that dominates many of his compositions. While the Blue
horse can be seen as a precursor to Jeune Garçon nu à cheval.
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Period is characterised by themes of loneliness and isolation,
the Rose Period works – thanks to Picasso’s newly confident
The other significant event of this period was the exhibition
outlook, with improving career prospects and a devoted
that took place between 25 February and 6 March, 1905 at
companion – show elements of lightness and optimism.
the Galeries Serrurier, 37 Boulevard Haussmann, organised
(Richardson notes an underlying darkness as well, in the
by the author Charles Morice. Picasso showed 28 paintings
tubercular flush of pink that suffuses the cheeks of Picasso’s
and drawings, including eight saltimbanques compositions, five
slender figures; J. Richardson. op. cit. vol. I, p. 345). New
prints, and a sketchbook. It was the first time since Vollard’s
subjects emerged, with Picasso’s imagination stimulated by the
show in 1901 that Picasso had been given a chance to exhibit a
company of a new friend, the poet, author and critic Guillaume
substantial number of new works, and his elegant and evocative
Apollinaire. (The exact date of their first meeting is recorded
images of saltimbanques and harlequins drew the attention of
by Richardson as 25 October 1904; J. Richardson. op. cit. vol. I,
both critics and the general public.
p. 327). Apollinaire “encouraged [Picasso] to picture himself
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The Watering
Place (1906)
The paintings, drawings and prints associated with Picasso’s
plan for a composition subsequently called The Watering
Place continued to build on the tradition that began with the
saltimbanques and harlequins. The Watering Place may well have
been planned as a monumental set-piece for the 1906 Salon
d’Automne in Paris, although this large-scale work was never
realised. Our understanding of Picasso’s original intention
comes from a number of paintings and drawings in which he
attempted to work out his initial ideas for the arrangement
of the composition. A majority of the works relating to The
Watering Place are on paper supports, and Jeune Garçon nu à cheval
is a rare example painted in oil on canvas. The figure of the
boy on the horse appears at the far right in a smaller group
composition, also called The Watering Place, (fig. 22, 1905-06,
Z.1,265; The Metropolitan Museum of Art, New York) and
this gives us some idea of its intended position within the
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planned, large-scale painting. In comparison to this version of
The Watering Place, Jeune Garçon nu à cheval is more highly resolved
in the figure of the horse, with some of the roundness of
its body and musculature very subtly described by a range of
reddish-brown hues. The figure of the rider in both paintings
is unarticulated, his shape defined by dark contours. Moreover,
while the horse in our picture is evidently bending down to
drink, there is no indication of a landscape setting or of the
watering place itself: the only hint of a background is suggested
by the reddish, earthy wash of colour in the lower half of
the painting, and a greyish-blue hue, suggesting sky, brushed
across the upper half. There is also a watercolour related to this
figure, Le Jeune Cavalier (The Young Rider) (fig. 30, 1906, Z.6,683;
Private Collection). In addition to having its roots in the many
depictions of horses and riders from 1905, Picasso’s vision for
The Watering Place drew on a number of modern and antique
sources, ranging from paintings by Gauguin and Cézanne to
preclassical Greek kouroi and Iberian heads.
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Jeune Garçon nu à cheval, 1906
The Watering Place Series
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“Good artists copy, great artists steal”
Picasso and Gauguin
Pablo Picasso
In 1902, Paul Gauguin painted two canvases entitled Cavaliers sur la plage (Riders on the Beach), both
scenes of bareback riders on the beach in Hivaoa, in the Marquesas (fig. 33, W.619; Folkwang
Museum, Essen; and fig. 31, W.620; Private Collection). The natives of the Marquesas held
regular bareback races on the beaches at Hivaoa, where the sand was coloured a vivid rose
hue by the crushed coral. Vollard sold the smaller painting (W.619) to the German collector
Karl Ernst Osthaus in February 1904, along with two other paintings by Gauguin. Vollard’s
inventory book for June 1904 – December 1907 lists Gauguin’s “Indigines et cheval en liberté
Paysage de Tahiti”, with measurements corresponding to the larger of the two works (W.620),
at a cost of 200F (fig. 34, Vollard Archives, Musée d’Orsay, Paris, MS 421 [4,5], fol. 8). Both
pictures were included by Vollard in an exhibition of Gauguin’s work held in Paris in November
1903 (nos. 39 and 42), six months after Gauguin’s death in Tahiti. Picasso may well have seen
them later at Vollard’s gallery.
The similarities between Gauguin’s two paintings and the gouache version of The Watering
Place are revealing. Picasso’s rearing figure in the left distance finds a counterpart, in reverse,
in each of Gauguin’s compositions. There is also a similar rider with his back turned to the
viewer (depicted shirtless by Gauguin in both paintings, and nude by Picasso). The figures
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of the boy and horse in Jeune Garçon nu à cheval relate to a similar pair in the right foreground
of W.620. Picasso shares Gauguin’s rosy palette and undefined, dreamlike setting, although,
rather than a Marquesan beach, his landscape evokes an arid terrain vague similar to that of his
saltimbanques pictures. Gauguin was, in turn, influenced by Edgar Degas’ racing scenes of the
1860s and 1870s, particularly a pastel owned by Paul Durand-Ruel entitled Avant la course (Before
the Race), in which the three central figures on horseback inspired Gauguin’s own riders (fig.
32, 1894, L.1145; Carmen Thyssen-Bornemisza Collection, on deposit at the Museo ThyssenBornemisza, Madrid).
Picasso may also have known examples of Gauguin’s works on paper, sent from Tahiti to
Vollard in Paris in the winter and early spring of 1900. In both the suite of 14 woodcuts
and among the 10 oil transfer drawings that followed shortly thereafter, Gauguin included
versions of his composition Changement de résidence (Change of Residence), which again featured
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a horse and rider. This was a theme he continued to explore
Gauguin’s descriptions in Noa Noa of the colours of the
in the years prior to his death (see, for example, Changement de
landscape are vividly evocative: “The landscape with its violent,
résidence (Change of Residence), figs. 40 a-b, 1901-02; The Museum
pure colours dazzled and blinded me ... it was so simple to
of Modern Art, New York). This composition can be related
paint things as I saw them; to put without special calculation
to Picasso’s drypoint print of The Watering Place (fig. 23, 1906,
a red close to a blue. Golden figures in the brooks and on
published 1913; Bloch 8).
the seashore enchanted me” (P. Gauguin, Noa Noa, O.F. Theis
trans., New York, 1985, p. 12). And Picasso was also fascinated
Later on, Picasso himself owned a copy of Noa Noa, Gauguin’s
by Gauguin’s descriptions of mahus, androgynous male
journal of his time in Tahiti. He was given the work by Charles
Tahitians who dressed as women and undertook traditionally
Morice, author of Gauguin’s biography, who added his own
female roles. In Tahiti, wrote Gauguin, “there is something
commentaries to Gauguin’s text. Picasso in turn embellished
virile in the women and something feminine in the men”.
his copy of Noa Noa with sketches, and his son Claude
For Gauguin, mahus symbolised the enigma and mysticism of
Picasso many years later recalled seeing the book bound in
sexuality (J. Richardson, op. cit., vol. I, p. 340). Their appearance
an elaborate bejewelled cover. Although this embellished
in Gauguin’s paintings, suggests Richardson, may have inspired
copy has since disappeared, it emphasises the degree to which
Picasso’s own androgynous figures, slim, youthful and often
Picasso identified with Gauguin – to the extent that he even,
without hair, such as the rider depicted in Jeune Garçon nu à
in December 1903, had signed a Gauguin-esque drawing of a
cheval.
female nude, Femme nue de profil: Hommage à Gauguin, as “Paul
40. a
Yet another one of Gauguin’s works that fundamentally inspired
Picasso” (fig. 38, Z.6,564; Private Collection).
Picasso during the Rose Period was the Oviri sculpture, which
Picasso saw in the 1906 Gauguin retrospective at the Salon
d’Automne, although he may already have seen it at Vollard’s
(fig. 35, 1894, Gray 113; Musée d’Orsay, Paris). This macabre
stoneware sculpture was originally intended for Gauguin’s own
tomb. The name “oviri” translates as savage, and in Tahitian
culture the god Oviri-moe-’aiihere is the deity of death and
mourning. In his biography of Gauguin, David Sweetman
credits the Oviri with “[stimulating] Picasso’s interest in both
sculpture and ceramics, while the woodcuts [reinforced]
his interest in print-making, though it was the element of
the primitive in all of them which most conditioned the
direction that Picasso’s art would take.” The Oviri may have
inspired sculptures such as Femme se coiffant (Woman Combing her
Hair), a large stoneware image (eventually cast in bronze) of
Fernande combing her long hair (fig. 36, 1906, Z.1,329; Private
Collection). Picasso sculpted this work in Durrio’s new studio,
41.
where Durrio kept his many Gauguins, and fired it in his kiln.
40. b
dickinson
41
Other Modern and
Contemporary Influences
Gauguin was not the only modern source from whom Picasso
drew inspiration. During his Blue Period he had been a passionate
admirer of Vincent van Gogh, but his interest had since waned.
During the ensuing years, Picasso developed a growing interest
in the work of Paul Cézanne, whose impact later led Picasso to
declare him “my one and only master”. Indeed, his admiration
at the time was such that Picasso threatened anyone who spoke
against Cézanne’s art with the revolver he always carried, declaring
ominously: “One more word and I fire”. Cézanne’s watercolour
Homme auprès d’une femme nue, which depicts a man observing a
reclining female nude, can be compared to Picasso’s drawings of
lovers. It originally belonged to Vollard (fig. 10, 1867-70; R.31,
Private Collection, USA). Cézanne had returned repeatedly to the
theme of bathers in a landscape; of the 33 paintings he exhibited at
the 1904 Salon d’Automne, for instance, four dealt with this subject.
Clearly Cézanne’s large-scale, weighty nudes, arranged frieze-like
in an indistinct Arcadian landscape, resonated with Picasso. Like
Picasso’s figures for The Watering Place, Cézanne’s male bathers are
seen from both the front and back, while his painting Le Grand
Baigneur (The Bather) (1885; R.2.555, The Museum of Modern
Art, New York) represents a striding, nude male figure, which
anticipates Picasso’s Meneur nu à cheval (Boy Leading a Horse), (fig.
24, 1905-06; Z.1.264, The Museum of Modern Art, New York).
42.
Also of influence were the classicising compositions of
the nineteenth-century painter and muralist Pierre Puvis de
Chavannes, who continued to enjoy an elevated reputation among
modern artists even after his death in 1898. Puvis’s compositions,
like those of Picasso himself, place an emphasis on expressive
gesture rather than depending on an explicitly staged narrative.
Richardson observes in Picasso’s work of 1905-06 a tendency
to “[emulate] the dry, matt surfaces that Puvis favoured – even
when he was not doing frescoes – also his restrained use of cool,
pale colours with very little modelling or chiaroscuro”; and he
continues “The extent of Picasso’s debt to Puvis emerges in
43.
42
Pablo Picasso
Jeune Garçon nu à cheval, 1906
the preparatory sketches for his next project: an ambitious,
1906; quoted in op. cit., p. 180). Among the many works the
never-to-be-executed composition known as The Watering Place
Steins purchased was Meneur nu à cheval, which Leo called one
(early 1906) – naked boys and wild horses on the bleak slopes
of the “best things of the period” (quoted in J. Bishop, op. cit.,
familiar to us from The Saltimbanques” (J. Richardson, op. cit.,
p. 35).
vol. I, p. 424).
One ongoing source of inspiration was the Stein collection.
The Impact of El Greco
Picasso owed a great deal to the siblings, who enthusiastically
Picasso also drew inspiration from works by the old masters.
bought his paintings. Leo Stein declared Picasso “a genius of
Among his favourites was the sixteenth century painter
very considerable magnitude and one of the most notable
Doménikos Theotokópoulos, known as El Greco, who was
draughtsmen living” (Stein to Mabel Weeks, 29 November
also admired by Cézanne and Manet, among others. In the
1905, quoted in J. Bishop et al, eds., The Steins Collect, exh. cat.,
catalogue for the recent exhibition El Greco y la pintura moderna,
2011, p. 35). He was struck by the artist’s intensity and focus:
in which Jeune Garçon nu à cheval was included, Javier Barón
“When Picasso had looked at a drawing or print, I was surprised
pointed out similarities between Jeune Garçon nu à cheval and El
that there was anything left on the paper, so absorbing was his
Greco’s San Martín y el mendigo (Saint Martin and the Beggar) of
gaze. He spoke little and seemed neither remote nor intimate –
more than three centuries earlier (fig. 45, 1597-99; Wethey 18,
just completely there ... He seemed more real than most people
National Gallery of Art, Washington, D.C.). Barón observed
while doing nothing about it” (quoted in J. Richardson, op. cit.
that Picasso could have studied El Greco’s masterpiece either
p. 398). In addition to their patronage, the Steins welcomed
in the chapel of San José in Toledo, where it hung until 1907,
Picasso and Fernande into their home, where the artist had the
or illustrated in a booklet of reproductions after paintings by
opportunity to study their expanding collection of modern and
El Greco, published by Maurice Utrillo in 1905 (J. Barón, “La
contemporary art. Fernande recalled: “We’ve become regular
influencia del Greco en la pintura moderna, del siglo XIX
visitors to the Steins and often take our friends to the Saturday
a la Difusión del Cubismo”, in El Greco y la pintura moderna,
evenings they hold in their little house and studio ... They have
exh. cat. Madrid, 2014, p. 162). Richardson notes that Picasso
a wonderful collection of paintings: Gauguins ... Cézannes ... a
also had El Greco’s masterpiece in mind when he painted
small Manet ... an El Greco, some Renoirs ... two fine Matisses,
the Meneur nu à cheval, and was looking specifically at the
one Vallotton ... some Manguins, some Puys; and now Picasso
satisfactory resolution of the six clustered legs, two human
has joined this throng” (Journal of Fernande Olivier, Spring
and four equine.
44
Pablo Picasso
Jeune Garçon nu à cheval, 1906
44.
45.
Iberian and Preclassical Greek sculpture
Picasso reached even further back in his ongoing quest for sources of inspiration, and
the paintings and drawings from this period reflect his interests in both Iberian and
preclassical Greek sculpture, familiar from his explorations of the Louvre. Two kouroi,
free-standing figures of nude male youths, had been on display at the Louvre since their
1874 excavation in the Temple of Apollo at Actium. A turn-of-the-century preoccupation
with archaeological expeditions led to a significant European re-evaluation of preclassical
Greek art. Paintings such as Meneur nu à cheval were directly inspired by the upright stride
of the Louvre kouroi, and the youth in Jeune Garçon nu à cheval follows in the tradition of
the classical nude, stripped of any costume that would identify him as a harlequin or
saltimbanque.
Early in 1906, the year Jeune Garçon nu à cheval was painted, the Louvre held an exhibition of
ancient Iberian sculpture recently excavated at Osuna in Andalusia (near Picasso’s native
Málaga) and Cerro de los Santos in Albacete. Picasso was fascinated, and distinctly Iberian
elements began appearing in his figures. Some qualities are visible in paintings such as the
Meneur nu à cheval, including the heavy-lidded eyes and strongly-defined brow, but they are
even more apparent in Picasso’s sculptures. Fernande’s memoirs describe some works the
artist sold to Vollard the following year, listing: “an unfinished, roughly modelled bust of
a woman; a fool’s head with a cap and bells; and the head of a Spanish bullfighter with a
46.
48.
broken nose, a work of powerful intensity that was full of life. Picasso’s sculptures combine
technical brilliance with great humanity, and it is a pity he did not do more” (Journal of
Fernande Olivier, Autumn 1907; quoted in op. cit., p. 199). The “powerful intensity” that
Fernande recognised in sculptures such as the Tête de picador au nez cassé (Bullfighter with a
Broken Nose) (fig. 49, 1903; PP.03,255, Private Collection) is a quality shared by both the
Iberian heads and also sculptures made by Gauguin’s friend Paco Durrio.
Picasso’s enthusiasm for antiquities subsequently embroiled him in a scandal. Early in March
of 1907, a young Belgian called Géry Pieret, an associate of Picasso’s friend Apollinaire,
discovered that one of the antiquities galleries in the Louvre was left unguarded. It proved
no difficulty whatsoever to remove two Iberian heads, which he concealed under his coat
before exiting the museum. These were sold to Picasso for a small sum. Whether or not
Picasso realised that he was purchasing stolen goods remains uncertain, although it is
curious that his new acquaintance had taken the exact objects that had captured Picasso’s
interest. When, in August 1911, Pieret’s trail led the police to Picasso and Apollinaire, the
two expressed their contrition and were let off with a warning by the authorities. In the
47.
49.
years between 1907 and 1911 when the Iberian heads were in Picasso’s possession, they
continued to exert their influence.
46
Pablo Picasso
Jeune Garçon nu à cheval, 1906
dickinson
47
Picasso’s Use of
Old Canvases
Picasso had been recycling old canvases since his arrival in
the Duke of Wellington’s Regiment during the First World
Paris, not only for the sake of economy, but also to mark a
War, he had opened his own fashion house in Paris in 1919.
deliberate departure from his earlier manner. For example, a
Molyneux, himself a painter, amassed a considerable collection
recent scientific examination of the artist’s early masterpiece
of Impressionist paintings, most of which are now in the
Le Tub (The Blue Room) (fig. 50, 1901; Z.1,103, The Phillips
collection of the National Gallery of Art, Washington, D.C.,
Collection, Washington, D.C.) has revealed, underneath the
although Jeune Garçon nu à cheval was sold around 1950. In 1957,
surface, a portrait of an unknown man. Picasso took a number
Jeune Garçon nu à cheval was purchased by the British financier
of unresolved works with him when he moved to the Bateau
Sir Charles Clore (1904 – 1979), after whom the Clore Gallery
Lavoir, one of which served as the ground for Jeune Garçon nu
at Tate Britain is named. It houses the world’s largest collection
à cheval. The earlier composition is revealed in an x-radiograph
of works by J.M.W. Turner. In addition to Jeune Garçon nu à
image as a man and a woman. A number of features establish
cheval and several other works by Picasso, Clore’s substantial
a close stylistic link between this ghostly image and works
collection of Impressionist and Modern art included paintings
such as Arlequin accoudé, (Seated Harlequin) (1901; Z.I:79, The
by Renoir and Modigliani.
Metropolitan Museum of Art, New York): the dominant
contour lines; thin, tightly-pressed lips of the figures; and what
appears to be a skullcap worn by the man. It is difficult to
discern the setting, and unclear whether the canvas support
is a fragment cut down from a larger composition. In 1905,
Fernande observed: “The paintings he’s doing are quite
different from those I saw when I first came to the studio last
summer, and he’s painting over many of those canvases ... he
never seems to be satisfied with his work and is constantly
reworking pictures.” (Journal of Fernande Olivier, Autumn
1905; op. cit., p. 162).
Later Provenance
Jeune Garçon nu à cheval is additionally notable for having passed
through two interesting collections in its history. Sometime
around 1948, Jeune Garçon nu à cheval was acquired by the
leading British fashion designer Edward Molyneux (1891 –
1974), probably purchased from the Gallery Charpentier in
Paris. After attaining the rank of Captain while serving in
48
Pablo Picasso
Jeune Garçon nu à cheval, 1906
50.
51.
Conclusion
The unexpected income from Vollard’s purchase of 27 works
in May 1906 allowed Picasso and Fernande to spend nearly
a full three months of the summer in Spain. After passing
through Barcelona, they arrived in Gósol, a remote village in
the Pyrenees near Andorra. Here, the rosy hue of the Paris
paintings evolved into a rustier, reddish tone, inspired by the
red earth of Gósol. The red or pink tones used for the figures
began to spread outwards, permeating the backgrounds,
thus blurring the distinction of objects in space. A constant
artistic exploration is characteristic of Picasso’s genius, and
it confounds most attempts to define different stages in his
career. What is clear is that the body of work executed in Paris
between late 1904 and early 1906 shows how Picasso absorbed
and responded to a diverse range of stimuli, including the work
of other artists, and the vibrant and creatively fertile artistic
environment of the Bateau Lavoir. Within this brief Rose
Period, Jeune Garçon nu à cheval is significant as a stylistic link
between the better-known harlequins and the revolutionary
paintings to come.
50
Pablo Picasso
Jeune Garçon nu à cheval, 1906
dickinson
51
List of Plates
Picasso in Paris
1. Picasso on the Place Ravignan, 1904
Musée national Picasso, Paris
2. Self-portrait photograph of Picasso in
his new studio on Boulevard de Clichy, 1909
Musée national Picasso, Paris
The Bateau Lavoir
3. Roofs of the Bateau Lavoir with the location of
Picasso’s studio marked by the artist
Musée national Picasso, Paris
4. The Bateau Lavoir studios on Rue Ravignan
5. Kees van Dongen
Le Bateau Lavoir au bistrot
At the table: Picasso and Fernande Olivier, the sculptor
Manolo (from the back); Behind and to the right:
Guillaume Apollinaire and Max Jacob; Seated to the left:
Kees van Dongen.
lithograph illustration from the book Au Beau
Temps de la Butte, 1949
19 x 14 cm.
Private Collection
“La Belle Fernande”
6. Fernande Olivier, photographed by Picasso, c. 1908
7. Pablo Picasso
Portrait of Fernande Olivier, 1906
drypoint on copper (ed. 4)
16.2 x 11.8 cm.
Musée national Picasso, Paris
52
Pablo Picasso
Jeune Garçon nu à cheval, 1906
8. Pablo Picasso
La Belle Fernande, 1906
Signed upper left Picasso
pen and black ink on buff paper
17.1 x 12.1 cm.
Private Collection
9. Pablo Picasso
Nu avec chat, 1905
pen and ink on paper
14.1 x 8.75 cm.
Private Collection
10. Paul Cézanne
Homme auprès d’une femme nue, 1867-70
gouache, watercolour, pen and brown ink
and pencil on paper
10.2 x 17.1 cm.
Private Collection
11. Pablo Picasso
L’étreinte, 1906
zinc etching
17.6 x 23.5 cm.
Národni Galerie, Prague
12. Pablo Picasso
Nu debout
signed lower left Picasso
pencil on paper laid down on paper
17.1 x 11.7 cm.
Private Collection
13. Pablo Picasso
Amoureux, c. 1905
signed, dated and inscribed lower left Picasso 7 Juillet 1908
Pour le 33 anniversere amicalement
watercolour, pen and india ink,
brush and grey wash on paper
36.9 x 26.8 cm.
Private Collection
Kees van Dongen
14. Kees van Dongen
Fernande Olivier ou l’espagnole, 1905-06
signed lower right Van Dongen
oil on canvas
91 x 72 cm.
Private Collection
15. Kees van Dongen
Fernande Olivier, 1952
lithograph (ed. 75)
46 x 41 cm.
Private Collection
16. Kees van Dongen
La Vigne, 1905
signed upper right V.D., and inscribed on the
reverse 05 Kees Van Dongen, La Vigne
oil on canvas
46 x 55 cm.
Musée national Picasso, Paris
17. Kees van Dongen
Picasso dans son atelier au Bateau Lavoir, 1906
lithograph illustration from the book Au Beau Temps de la
Butte, 1949
19 x 14 cm.
Private Collection
The Rose Period
18. Pablo Picasso
Saltimbanque et jeune fille, 1905
watercolour and charcoal on paper laid on card
29.5 x 19.5 cm
Private Collection
19. Pablo Picasso
Étude pour ‘Arlequin à cheval’, 1905
signed upper right Picasso
watercolour, pen and black ink on paper
22.1 x 12.6 cm.
Private Collection
20. Pablo Picasso
Le Saltimbanque au repos, 1905
signed lower right Picasso
drypoint
12 x 8.5 cm.
Private Collection
21. Pablo Picasso
Jeune Acrobat et singe, 1905
inscribed, upper left and right: Catalogue, Invitation
inscribed, lower left: Acuarelles; Monsieur - Max Jacob –
pen and ink with watercolour on paper
45 x 35 cm.
Private Collection
The Watering Place (1906)
22. Pablo Picasso
The Watering Place, 1906
gouache on cardboard
38.1 x 57.8 cm.
The Metropolitan Museum of Art, New York
© 2014 Image copyright The Metropolitan Museum
of Art/Art Resource/Scala, Florence
23. Pablo Picasso
L’Abreuvoir (Chevaux au bain), 1906
drypoint on wove paper
12.1 x 20 cm.
Private Collection
dickinson
53
24. Pablo Picasso
Meneur nu à cheval, 1905-06
oil on canvas
220.6 x 131.2 cm.
The Museum of Modern Art, New York
25. Pablo Picasso
Cavalier, 1906
signed lower right Picasso
pencil on paper
47 x 26.7 cm.
Private Collection
26. Pablo Picasso
Meneur nu à cheval, Paris, 1905-06
watercolour on wove paper
50.2 x 33 cm.
Baltimore Museum of Art, Cone Collection
27. Pablo Picasso
Jeune Homme et cheval, 1906/1914
signed lower left Picasso
charcoal on grey paper
46.6 x 30.4 cm.
Private Collection
28. Pablo Picasso
Cheval avec jeune homme en bleu, 1905-06
watercolour and gouache on paper
49.8 x 32.1 cm.
Tate, London
29. Pablo Picasso
Étude pour L’Abreuvoir (Chevaux au bain), 1906
charcoal on paper
29.5 x 45.7 cm.
Private Collection
30. Pablo Picasso
Le Jeune cavalier, 1906
signed lower right Picasso
watercolour on paper
44 x 30 cm.
Private Collection, Zurich
54
Pablo Picasso
Picasso and Gauguin
31. Paul Gauguin
Cavaliers sur la plage (II), 1902
oil on canvas
73 x 92 cm.
Private Collection
32. Edgar Degas
Racehorses in a Landscape, 1894
signed and dated lower left Degas/94
pastel on tracing paper
48.9 x 62.8 cm.
Carmen Thyssen-Bornemisza Collection, on loan to the
Museo Thyssen-Bornemisza, Madrid
33. Paul Gauguin
Cavaliers sur la plage (I), 1902
oil on canvas
66 x 76 cm.
Folkwang Museum, Essen
34. Page for June 1904 - December 1907 from Vollard’s
Stockbook B, listing Paul Gauguin’s “Indigenes et cheval en
liberté, Paysage de Tahiti” (Cavaliers sur la plage (II), W.620)
Vollard Archives, Musée d’Orsay, Paris,
MS 421 (4,5), fol. 8
35. Paul Gauguin
Oviri, 1894
stoneware
75 x 19 x 27 cm.
Musée d’Orsay, Paris 36. Pablo Picasso
Femme se coiffant, 1906
bronze
42.2 x 26 x 31.8 cm.
Museum Ludwig, Cologne
37. Paul Gauguin
Tête de femme tahitienne, c. 1892
indistinctly signed with monogram lower right PGO
carved wood
19 cm.
Private Collection
Jeune Garçon nu à cheval, 1906
38. Pablo Picasso
Hommage à Gauguin, 1902
signed and dated lower left Paul Picasso/1903/Decembre;
and further inscribed upper left 003
conté crayon and charcoal on paper
24 x 16 cm.
Private Collection
39. Pablo Picasso
Autoportrait au bras levé, 1902
pencil on paper
27.5 x 20.2 cm.
Private Collection
40 a. / b. Paul Gauguin
Changement de résidence, 1902 (recto/verso)
graphite and red crayon; oil transfer drawing on paper
37.9 x 54.9 cm.
Private Collection
41. Paul Gauguin
Noa Noa (Paris, 1901)
Other Modern and Contemporary
Influences
42. Paul Cézanne
Baigneuse, 1873-77
pencil on paper
12.4 x 6.5 cm.
Private Collection, Switzerland
43. Pablo Picasso
Femme nue se coiffant, 1906
signed lower right Picasso
brush and red ink and red wash on paper
41 x 26.5 cm.
Private Collection
The Impact of El Greco
44. Pierre Puvis de Chavannes
Etude pour “Charles Martel, vainqueur des Sarrasins”,
c. 1870-75
black pencil, ink, wash, heightened with
white gouache on paper
28.5 x 39 cm.
Private Collection
45. El Greco
San Martín y el mendigo, 1597-99
oil on canvas
193.5 x 103 cm.
National Gallery of Art, Washington, D.C.
Courtesy National Gallery of Art, Washington
Iberian and Preclassical Greek Sculpture
46. Greek
Torso of a Kouros, c. 550 B.C.
marble
100 cm.
Musée du Louvre, Paris
47. Francisco (“Paco”) Durrio
Head of a Youth or Head of an Inca, early 20th century
glazed stoneware
30.6 x 16.5 x 18.7 cm.
Museo de Bellas Artes, Bilbao
© Bilboko Arte Ederren Maseba, Museo des Bellas Artos
de Bilbao
48. Iberian Peninsula, probably Portugal
Head of a Young Man, First half 12th century
granite
19.5 x 12 x 19 cm.
Private Collection
49. Pablo Picasso
Tête de picador au nez cassé, 1903
plaster
19 x 14.5 x 12 cm.
Private Collection
Picasso’s use of Old Canvases
50. Pablo Picasso
Seated Harlequin, 1901
signed and dated lower left Picasso 1901
oil on canvas
83.2 x 61.3 cm.
The Metropolitan Museum of Art, New York
© 2014 Image copyright The Metropolitan Museum of
Art/Art Resource/Scala, Florence
51. X-ray of Jeune Garçon nu à cheval
dickinson
55
Acknowledgements
D i c k i n s on w ou l d l i k e t o e x pre s s ou r g r at itu d e t o a l l t h e l e n d e r s of w or k s of a r t , m o s t of w h om
h av e c h o s e n t o re m a i n a n ony m ou s . Wit h out t h e i r t r u s t a n d c o - op e r at i on t h i s proj e c t w ou l d
n e v e r h av e b e e n re a l i s e d .
We a re s i n c e re l y g r at e f u l t o Ma r i l y n Mc Cu l l y, w h o s e e x p e r t i s e h a s m a d e t h i s proj e c t p o s s i b l e .
E d i t e d by : Ma r i l y n Mc Cu l l y
t e xts a nd R e se a r c h : Mo l l y D or k i n
De sig n : L a r a P i l k i n g t on
Photo g r a phic c r e d i ts
© S i m on C . D i c k i n s on Lt d
© Su c c e s s i on P i c a s s o / DAC S , L on d on 2 0 1 4
© A DAG P, Pa r i s a n d DAC S , L on d on 2 0 1 4
© Mu s e o d e s B e l l a s A r t o s d e B i l b a o
© Nat i on a l G a l l e r y of A r t , Wa s h i n g t on
© 2 0 1 4 Im a g e c opy r i g ht T h e Me t rop o l it a n Mu s e u m of A r t / A r t R e s ou rc e / S c a l a , F l ore n c e
Ap a r t f rom i n s t itut i on a l pi c tu re s a n d p h ot o g r ap h s , a l l w or k s l i s t e d i n t h e c at a l o g u e a re
c u r re nt l y b e i n g of f e re d f or s a l e w it h t h e e x c e pt i on of nu m b e r s : 8 , 1 0 , 1 3 , 1 4 , 1 9 , 2 1 , 2 7 ,
29, 30, 31, 37, 38, 39, 49.
S I M ON C . DIC K I N S ON LT D .
LON D ON
5 8 Je r my n S t r e e t
London SW1Y 6LX
Te l ( 4 4 ) 2 0 7 4 9 3 0 3 4 0
N E W YOR K
19 East 66th Street
N e w Yo r k N Y 1 0 0 6 5
Te l ( 1 ) 2 1 2 7 7 2 8 0 8 3
w w w. s i m o n d i ck i n s o n . c o m
a l l r ig h ts r e se rv e d S i m on C . Dic k in s on Lt d . 2 0 1 4
dickinson
56.
Pablo Picasso
Jeune Garçon nu à Cheval, 1906
dickinson
57
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Pablo Picasso
Jeune Garçon nu à cheval, 1906
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Pablo Picasso
Jeune Garçon nu à cheval, 1906

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