Picasso, Pablo (After), Spanish 1881-1973,
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Description
Title: "Composition au Verre et Compotier (Composition with Glass and Fruit Bowl)"; alternative title "Le Verre d’absinthe (Glass of Absinthe)",
aquatint in colors on Arches paper with collotype,c. 1965, with the atelier signature, numbere 33/50 (the edition included 15 proofs),As published by: Atelier Crommelynck, Paris, with their blindstamp "ATELIER CROMMELYNCK PARIS EDITEUR", ,
Size info: ,sheet: 33 1/8 in x 25 in (84.1 cm x 63.5 cm) ,plate size: 24 in x 19 1/2 in (61 cm x 49.5 cm),
Framing: offered unframed,
Literature: As recorded and illustrated in the online reference by Mallen, Enrique, ed. (OPP) 1997-2015. Online Picasso Project. Sam Houston State University. (65:016),
Comments: Instilled with Picasso's innate sense of creative ease, this captivating still life highlights one of Picasso's favorite thematic drinks: absinthe. Absinthe rose to great popularity in the late 19th to early 20th century, particularly in France among Parisian artists and writers. Due to its association with this bohemian culture, social conservatives and prohibitionists strongly opposed the consumption of absinthe. As part of this bohemian, Parisian lifestyle, Picasso often depicted absinthe as a subject or prop within works such as La Verre d'Absinthe. Shrouded in soft lilac, the glass of absinthe instantly makes itself known as the subject of the composition. To its right, an abstract bowl of fruit conveyed in dark, earthy tones contrasts with the soft coloration of the glass of absinthe. Exemplary for its bold coloration and strong sense of texture achieved through the etching and collotype mediums, this print evokes a sense of refinement and class despite the somewhat disreputable nature of absinthe.Richard Solomon states of printmaker Aldo Crommelynck, "He [Crommelynck] formed an especially close working relationship with Picasso. In 1963, Picasso decided he need a printer close by his house, Notre-Dame-de-Vie in Mougins. Picasso would create etchings on copper plates supplied by Crommelynck in the morning and Crommelynck would return with proofs in the afternoon. When the proofing was complete, the plates went to Crommelynck's studio in Paris to be editions. Crommelynck printed for Picasso for over twenty years and collaborated on most of his intaglio projects including the series "60", and "156", and culminating in 1968 with Picasso's Suite 347.",
,
Additional and larger photos and more information may often be available in our main site catalog.
aquatint in colors on Arches paper with collotype,c. 1965, with the atelier signature, numbere 33/50 (the edition included 15 proofs),As published by: Atelier Crommelynck, Paris, with their blindstamp "ATELIER CROMMELYNCK PARIS EDITEUR", ,
Size info: ,sheet: 33 1/8 in x 25 in (84.1 cm x 63.5 cm) ,plate size: 24 in x 19 1/2 in (61 cm x 49.5 cm),
Framing: offered unframed,
Literature: As recorded and illustrated in the online reference by Mallen, Enrique, ed. (OPP) 1997-2015. Online Picasso Project. Sam Houston State University. (65:016),
Comments: Instilled with Picasso's innate sense of creative ease, this captivating still life highlights one of Picasso's favorite thematic drinks: absinthe. Absinthe rose to great popularity in the late 19th to early 20th century, particularly in France among Parisian artists and writers. Due to its association with this bohemian culture, social conservatives and prohibitionists strongly opposed the consumption of absinthe. As part of this bohemian, Parisian lifestyle, Picasso often depicted absinthe as a subject or prop within works such as La Verre d'Absinthe. Shrouded in soft lilac, the glass of absinthe instantly makes itself known as the subject of the composition. To its right, an abstract bowl of fruit conveyed in dark, earthy tones contrasts with the soft coloration of the glass of absinthe. Exemplary for its bold coloration and strong sense of texture achieved through the etching and collotype mediums, this print evokes a sense of refinement and class despite the somewhat disreputable nature of absinthe.Richard Solomon states of printmaker Aldo Crommelynck, "He [Crommelynck] formed an especially close working relationship with Picasso. In 1963, Picasso decided he need a printer close by his house, Notre-Dame-de-Vie in Mougins. Picasso would create etchings on copper plates supplied by Crommelynck in the morning and Crommelynck would return with proofs in the afternoon. When the proofing was complete, the plates went to Crommelynck's studio in Paris to be editions. Crommelynck printed for Picasso for over twenty years and collaborated on most of his intaglio projects including the series "60", and "156", and culminating in 1968 with Picasso's Suite 347.",
,
Additional and larger photos and more information may often be available in our main site catalog.
Condition
In good overall condition, the full sheet, with a deckle edge top and bottom.,
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Picasso, Pablo (After), Spanish 1881-1973,
Estimate $18,000 - $24,000
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