Professional Documents
Culture Documents
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P U C K E R G A L L E RY • B O S T O N
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Picasso’s Life By 1936 the Spanish Civil War had profoundly affected
Picasso, the expression of which culminated in his
Pablo Picasso is best known as one of the most
painting Guernica (1937, Museo Nacional Centro de
influential painters in the history of art. Born in 1881
Arte Reina Sofía, Madrid). Picasso’s association with
in Málaga, Spain, Picasso was the son of academic
the Communist Party began in 1944. From the late
painter José Ruiz y Blasco and exhibited artistic
1940s he lived in the south of France. Among the
talent at an early age. This talent was encouraged
enormous number of exhibitions that were held during
and developed at Barcelona’s academy of fine arts,
the artist’s lifetime, those at the Museum of Modern
La Lonja, in 1985. Picasso’s first exhibition took place
Art, New York, in 1939 and the Musée des Arts
in Barcelona in 1900. Soon after, in 1901, the artist
Décoratifs, Paris, in 1955 were most significant. In 1961
relocated to Paris where he met art dealer, critic, and
the artist married Jacqueline Roque, and they moved to
collector Ambroise Vollard as well as Max Jacob and
Mougins, France, where Picasso continued his prolific
André Breton.
work in painting, drawing, prints, ceramics, and
Picasso’s oeuvre can be broken down into a number of sculpture until his death in 1973.
different periods. The Blue Period began in 1901, lasted |
through 1904, and was followed by the Rose Period
The History of the Vollard Suite
(1905) and a group of works influenced by African
art. Cubism followed (ca. 1908-1911), evolving from Picasso’s long relationship with Ambroise Vollard began
an Analytic phase to its Synthetic phase (beginning in soon after his move to Paris in 1901 when Vollard
1912–13) and it was during this period that Picasso arranged the artist’s first Paris show. Vollard was an
was most significant in the radical re-structuring of the influential and intuitive art dealer who also worked
way that a work of art constructs its meaning. In 1916, with Paul Cézanne, Paul Gauguin, and Pierre-Auguste
the artist began to collaborate on ballet and theatrical Renoir.
productions. Soon thereafter, his work was character- In 1936, Picasso agreed to give Vollard a group of 97
ized by elements of neoclassicism and a renewed interest printing plates created since 1930 and the rights to
in drawing and figural representation. publish them in exchange for two paintings, a Cézanne
In 1918, Picasso married dancer Olga Khokhlova and and a Renior. In early 1937, Picasso completed three
together they lived in Paris and traveled frequently. portraits of Vollard, making the completed suite a
From 1925 to the 1930s Picasso was involved to a group of one hundred plates.
certain degree with the Surrealists, and in the fall With Vollard’s sudden death in 1939, the project was
of 1931 he became especially interested in making interrupted and the completed works remained in
sculpture. In 1932, with large exhibitions at the Galeries his apartment until the mid-1940s when they were
Georges Petit in Paris and the Kunsthaus in Zürich, and purchased by print dealer Henri Petiet. In the 1950s,
the publication of the first volume of Christian Zervos’s Petiet began to pay Picasso to sign some of the prints,
catalogue raisonné, Picasso’s fame increased markedly. sending batches of one or two hundred prints at a time.
This arrangement ended in the late 1960s when the Picasso’s Printing Techniques
artist began to work on a new series, leaving many
Picasso’s influence on twentieth century art extends
prints unsigned. Very few editions were actually sold
beyond his painting career – the artist was a very
as a complete set and, of those that were, many have
accomplished and inspired printmaker.
since been broken up.
Printer Roger Lacourière was responsible for the
printing of all of the Picasso plates in the Vollard Suite
Imagery in the Vollard Suite and also taught the artist a number of printing and
Since Picasso’s original intention for these works was engraving techniques. Most of the intaglio prints in the
not for them to be combined into a suite and the plates suite are etchings or drypoint on watermarked Montval
were only brought together for Ambroise Vollard, there paper, usually in editions of 260.
isn’t a single theme that dominates the prints. It can, Drypoint is a method of printmaking in which a sharp
however, be argued that most of the one hundred instrument is used to scratch a groove directly into a
visually vibrant and emotionally incisive works are metal plate. When the metal plate is inked and paper is
either blatantly or surreptitiously autobiographical. pressed against the surface, the resulting line has a rich
A large number of the works in the Vollard Suite are velvety quality. As this process is repeated and the plate
characterized by Neoclassical elements and subject is worn, the lines become less defined in later prints.
matter. This theme was probably inspired by Picasso’s When etching, the plate is first covered with an acid-
travels to Rome, Florence, and Naples. As a result resistant ground and the image is incised into the
of these trips and his 1930s illustrations for Ovid’s ground with an etching needle. When the plate is dipped
| Metamorphoses, many of the works are mythological. into acid, the solution only bites into the incised areas.
The Minotaur repeatedly appears in the Suite in various When the plate is inked, the ink is captured in the bitten
states of emotion, often acting as an alter ego for the areas and, when pressed into paper, the incised design is
artist. transferred to the paper.
A second theme in many of the plates, particularly Picasso also used aquatint in latter plates of the Suite –
those created between March and May of 1933, is the a more graphic method of etching which produces a
sculptor in his studio which directly reflects the artist’s richly textured result. Rather than scratch the ground
1931 purchase of a chateau near Gisors, where he away, the printmaker paints an acid-resistant substance
devoted himself to sculpture. Often classical statues onto the plate and repeatedly dips the plate into acid.
surround the sculptor in these prints, once again The longer the plate has been submerged, the deeper
exploring his interest in the the acid bites and the more ink the plate will hold,
Neoclassical. creating a darker imprint. By covering different areas
Of course, one of the most present themes throughout at different stages, there is a variation in the darkness
the Suite is the women with whom Picasso was of the print. The resulting images are less linear than
intimately involved, particularly his mistress Marie- etchings and drypoint prints.
Thérèse Walter. These relationships are evident in
most of the plates in the Vollard Suite, illustrating the
connections and competitions that Picasso had with
the women and the conflicts that the artist imagined
between the women.
R
Pablo Picasso dominated 20th-century European His marketability as a unique and enormously
art and was central to the development of the productive artistic personality, together with the
image of the modern artist. Episodes of his distinctiveness of his work and methodology, have
personal life were recounted in intimate detail, made him the most extensively exhibited and
his comments on art were published, and his discussed artist of the 20th-century. The Vollard
working methods recorded on film. Painting was Suite is an integral part of the sizeable and diverse
his principal medium, but his sculptures, prints, body of work that Picasso created in his lifetime,
theatre designs, ceramics and cinematic endeavors illustrating his impressive mastery of printmaking
all had an impact on their respective disciplines. techniques, his attention to the multiple meanings
Even artists not influenced by the style of his work of a work, and his understanding of the potential
had to come to terms with its implications. During power of art.
his long life Picasso instigated or responded to most
of the artistic dialogues taking place in Europe – Kate Lincoln
and North America, registering and transforming Pucker Gallery, Boston
the developments that he found most interesting.
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This exhibition is presented in cooperation with John Szoke Editions, New York.
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Le Repos du Minotaure:
Champagne et Amante, 1933
Sculpteurs, Modèles et
Sculpture, 1933
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Credits
Design: Deborah McSorley Kery
Editors: Kate Lincoln and Destiny M. Barletta
Images courtesy of John Szoke Editions, New York
Cover Image:
Marie-Thérèse Considérant son
Effifie Surréaliste Sculptée, 1933
Etching on Montval paper with a
Vollard watermark, Unsigned
Edition of 260
Vieux Sculpteur Crec Avec Modele Vase Aux Trois Anemones 10 9/16 x 7 9/16”
et Autoportraits Sculpte (Le Repos Du Sculpteur IV), 1933 Bloch 187, Baer 346 B.d.
Etching on Montval paper with Picasso watermark, Unsigned
Edition of 260
7 5/8 x 10 1/2”
Bloch 174, Baer 327 B.d.
Bloch 174 Baer 327 B.d.
P U C K E R G ALL E R Y
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Fax: 617.424.9759
Permit #1906
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