246
Pablo PicassoHomme nu couchéFarbkreidezeichnung auf Velin mit Wasserzeichen "GUARRO". 51,8 x 64,4
In Modern Art
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Beschreibung
Pablo Picasso
Homme nu couché
Farbkreidezeichnung auf Velin mit Wasserzeichen "GUARRO". 51,8 x 64,4 cm. Unter Glas gerahmt. Oben rechts mit schwarzer Tusche signiert 'Picasso', mit blauer Kreide datiert '4.2.67.' sowie mit brauner Kreide bezeichnet 'I'. - Die Blattränder schwach gebräunt, sonst in guter, farbfrischer Erhaltung.
Zervos Vol. XXVII, 438 mit Abb.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 mit Abb.
Provenienz
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (jeweils auf der Rahmenrückwand mit dem Galerie-Etikett)
Ausstellungen
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, Kat. Nr. 48 mit Farbabb.
Das Motiv ist für Picasso mehr als ungewöhnlich: ein allein liegender, bärtiger Mann! Kein Modell, keine Muse, keine Venus, keine Aphrodite, keine erotische Phantasie beleben ihn? Nun - der Liegende ist nicht irgendein ausruhender Mann, den Picasso vielleicht im Atelier überrascht hat? Ein melancholisch blickender, wie mit einem verschleiernden Vorhang vor Augen Daliegender, den Blick nach innen gerichtet, nackter bärtiger Mann, entspannt ein Bein aufgestützt, das andere darüber geschlagen, die Arme oberhalb des Kopfes verschränkt. Nichts von ständiger Auseinandersetzung, nichts von der Dramatik eines Stierkampfs, nichts von dem tragischen Kampf des Minotaurus, nichts von ungestümen Erosdramen, nichts von den knisternden, nicht nur bis in die Psyche eindringenden Begegnungen zwischen Maler und Modell, nichts von den wundersamen Wünschen des Bildhauers, die Erschaffung einer idealen Skulptur mit Hilfe Pygmalions? Keine überbordende Geste, kein Ritual also, sondern ein sich ausruhender, melancholisch anmutender Mann?
Liegende Männer kommen im Werk Picassos immer vor, etwa in dem zentralen Werk des Künstlers, der „Suite Vollard“, worin Picasso sich Minotaurus als Identifikationsfigur bemächtigt und dessen überschwängliches Leben erzählt, welches schließlich zu dessen Erblindung und dessen Tod in der Arena führen; aber dieser Minotaurus alias Picasso liegt eben nicht alleine da. Wo bleibt die Ekstase des Liebens, Ekstase des Zeichnens? Der Maler ist müde? Der Bildhauer ist müde?
Es bleibt die Sinnlichkeit der Linie, ein kräftiger Körper, kraus gefüllt mit dichten Farbstift-Schleifen über einer zarten Umrisszeichnung, eine Ankündigung kreisender Gedanken im bewegten Raum. 1967, im Entstehungsjahr der Farbstift-Zeichnung, ist Picasso über Mitte Achtzig, seine schöpferische Kraft jedoch ist ungebrochen. Im Gegenteil: Picasso zeichnet und malt unaufhörlich wie nie zuvor. In den Jahren 1966 bis 1968 entstehen über vierhundert Zeichnungen, zahlreiche davon farbig, es folgen 347 graphische Blätter und rund 265 Gemälde. Das Thema „Maler und Modell“ ist nach wie vor zentral, ebenso die Verführung seines Modells, die nie endende Liebe zwischen Amor und Venus, das Abenteuer suchende Hineinschlüpfen in die Rolle des Minotaurus. Gelebte Sehnsüchte, Ängste und Depressionen über den Fortgang in die Zukunft? Ausruhen im Atelier! Picasso ruht sich nur aus, besinnt sich auf den starken Auftritt als Faun, als Kentaur und in seiner eindrucksvollsten Rolle, als Eros. Picasso ist nicht müde, im Gegenteil: er wird noch intensiver, noch wilder gegen den Tod anmalen; es bleiben ihm noch sechs Jahre.
Pablo Picasso
Homme nu couché
Colour wax crayon drawing on wove paper with watermark "GUARRO". 51,8 x 64,4 cm. Framed under glass. Signed, dated and inscribed 'Picasso 4.2.67.I' in blue crayon upper right and inscribed 'I' in brown crayon. - The sheet edges weakly browned, otherwise in fine condition with vibrant colours.
Zervos Vol. XXVII, 438 with illus.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 with illus.
Provenance
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (each with gallery label on back cover of frame)
Exhibitions
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, cat. no. 48 with colour illus.
For Picasso this motif is more than just unusual: a bearded man lying alone! No model, no muse, no Venus, no Aphrodite, no erotic fantasy animating him? Now, the reclining figure is not simply some resting man that Picasso perhaps caught by surprise in his studio? A nude bearded man with a melancholic look, lying there as if his eyes were shrouded by a curtain, his gaze turned inward, one of his legs bent in a relaxed pose and the other laid across it, his arms crossed above his head. There is nothing of the constant struggle, nothing of the drama of a bull fight, nothing of the tragic battle of the Minotaur, nothing of the unbridled dramas of Eros, nothing of the electric encounters between painter and model penetrating more than just the psyche, nothing of the sculptor's fantastic wishes to create an ideal sculpture with the help of Pygmalion? No excessive gestures, that is, no ritual - and instead a relaxing, seemingly melancholy man?
Reclining male figures often appear in Picasso's work, for example, in the “Suite Vollard”, a central work by Picasso in which he appropriates and identifies himself with the figure of the Minotaur and narrates his excessive life, finally leading to his blinding and death in the arena, but of course this Minotaur-as-Picasso does not lie there alone. Where is the ecstasy of love, the ecstasy of drawing? Is the painter tired? Is the sculptor tired?
What remains is the sensuality of line, a powerful body filled with the dense curls of loops drawn in coloured crayon over a delicate contour drawing, an indication of thoughts circling in a dynamic space. In 1967, the year this coloured crayon drawing was created, Picasso was in his mid-80s, but his creative power remained unbroken. Quite the opposite: Picasso was drawing and painting ceaselessly, like never before. In the years 1966 to 1968 he created over 400 drawings, many of them in colour, and these were joined by 347 prints and around 265 paintings. The theme of “painter and model” still continued to be central, as was the seduction of his model, the never-ending love between Amor and Venus, his slipping into the role of the Minotaur to seek adventure. Yearnings, fears and depression experienced regarding his departure in the future? Resting in the studio! Picasso is only resting, contemplating his powerful appearance as a faun, as a centaur and, in his most striking role, as Eros. Picasso is not tired, on the contrary: he would paint even more intensely, more wildly against death. Six years still remained to him.
Homme nu couché
Farbkreidezeichnung auf Velin mit Wasserzeichen "GUARRO". 51,8 x 64,4 cm. Unter Glas gerahmt. Oben rechts mit schwarzer Tusche signiert 'Picasso', mit blauer Kreide datiert '4.2.67.' sowie mit brauner Kreide bezeichnet 'I'. - Die Blattränder schwach gebräunt, sonst in guter, farbfrischer Erhaltung.
Zervos Vol. XXVII, 438 mit Abb.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 mit Abb.
Provenienz
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (jeweils auf der Rahmenrückwand mit dem Galerie-Etikett)
Ausstellungen
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, Kat. Nr. 48 mit Farbabb.
Das Motiv ist für Picasso mehr als ungewöhnlich: ein allein liegender, bärtiger Mann! Kein Modell, keine Muse, keine Venus, keine Aphrodite, keine erotische Phantasie beleben ihn? Nun - der Liegende ist nicht irgendein ausruhender Mann, den Picasso vielleicht im Atelier überrascht hat? Ein melancholisch blickender, wie mit einem verschleiernden Vorhang vor Augen Daliegender, den Blick nach innen gerichtet, nackter bärtiger Mann, entspannt ein Bein aufgestützt, das andere darüber geschlagen, die Arme oberhalb des Kopfes verschränkt. Nichts von ständiger Auseinandersetzung, nichts von der Dramatik eines Stierkampfs, nichts von dem tragischen Kampf des Minotaurus, nichts von ungestümen Erosdramen, nichts von den knisternden, nicht nur bis in die Psyche eindringenden Begegnungen zwischen Maler und Modell, nichts von den wundersamen Wünschen des Bildhauers, die Erschaffung einer idealen Skulptur mit Hilfe Pygmalions? Keine überbordende Geste, kein Ritual also, sondern ein sich ausruhender, melancholisch anmutender Mann?
Liegende Männer kommen im Werk Picassos immer vor, etwa in dem zentralen Werk des Künstlers, der „Suite Vollard“, worin Picasso sich Minotaurus als Identifikationsfigur bemächtigt und dessen überschwängliches Leben erzählt, welches schließlich zu dessen Erblindung und dessen Tod in der Arena führen; aber dieser Minotaurus alias Picasso liegt eben nicht alleine da. Wo bleibt die Ekstase des Liebens, Ekstase des Zeichnens? Der Maler ist müde? Der Bildhauer ist müde?
Es bleibt die Sinnlichkeit der Linie, ein kräftiger Körper, kraus gefüllt mit dichten Farbstift-Schleifen über einer zarten Umrisszeichnung, eine Ankündigung kreisender Gedanken im bewegten Raum. 1967, im Entstehungsjahr der Farbstift-Zeichnung, ist Picasso über Mitte Achtzig, seine schöpferische Kraft jedoch ist ungebrochen. Im Gegenteil: Picasso zeichnet und malt unaufhörlich wie nie zuvor. In den Jahren 1966 bis 1968 entstehen über vierhundert Zeichnungen, zahlreiche davon farbig, es folgen 347 graphische Blätter und rund 265 Gemälde. Das Thema „Maler und Modell“ ist nach wie vor zentral, ebenso die Verführung seines Modells, die nie endende Liebe zwischen Amor und Venus, das Abenteuer suchende Hineinschlüpfen in die Rolle des Minotaurus. Gelebte Sehnsüchte, Ängste und Depressionen über den Fortgang in die Zukunft? Ausruhen im Atelier! Picasso ruht sich nur aus, besinnt sich auf den starken Auftritt als Faun, als Kentaur und in seiner eindrucksvollsten Rolle, als Eros. Picasso ist nicht müde, im Gegenteil: er wird noch intensiver, noch wilder gegen den Tod anmalen; es bleiben ihm noch sechs Jahre.
Pablo Picasso
Homme nu couché
Colour wax crayon drawing on wove paper with watermark "GUARRO". 51,8 x 64,4 cm. Framed under glass. Signed, dated and inscribed 'Picasso 4.2.67.I' in blue crayon upper right and inscribed 'I' in brown crayon. - The sheet edges weakly browned, otherwise in fine condition with vibrant colours.
Zervos Vol. XXVII, 438 with illus.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 with illus.
Provenance
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (each with gallery label on back cover of frame)
Exhibitions
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, cat. no. 48 with colour illus.
For Picasso this motif is more than just unusual: a bearded man lying alone! No model, no muse, no Venus, no Aphrodite, no erotic fantasy animating him? Now, the reclining figure is not simply some resting man that Picasso perhaps caught by surprise in his studio? A nude bearded man with a melancholic look, lying there as if his eyes were shrouded by a curtain, his gaze turned inward, one of his legs bent in a relaxed pose and the other laid across it, his arms crossed above his head. There is nothing of the constant struggle, nothing of the drama of a bull fight, nothing of the tragic battle of the Minotaur, nothing of the unbridled dramas of Eros, nothing of the electric encounters between painter and model penetrating more than just the psyche, nothing of the sculptor's fantastic wishes to create an ideal sculpture with the help of Pygmalion? No excessive gestures, that is, no ritual - and instead a relaxing, seemingly melancholy man?
Reclining male figures often appear in Picasso's work, for example, in the “Suite Vollard”, a central work by Picasso in which he appropriates and identifies himself with the figure of the Minotaur and narrates his excessive life, finally leading to his blinding and death in the arena, but of course this Minotaur-as-Picasso does not lie there alone. Where is the ecstasy of love, the ecstasy of drawing? Is the painter tired? Is the sculptor tired?
What remains is the sensuality of line, a powerful body filled with the dense curls of loops drawn in coloured crayon over a delicate contour drawing, an indication of thoughts circling in a dynamic space. In 1967, the year this coloured crayon drawing was created, Picasso was in his mid-80s, but his creative power remained unbroken. Quite the opposite: Picasso was drawing and painting ceaselessly, like never before. In the years 1966 to 1968 he created over 400 drawings, many of them in colour, and these were joined by 347 prints and around 265 paintings. The theme of “painter and model” still continued to be central, as was the seduction of his model, the never-ending love between Amor and Venus, his slipping into the role of the Minotaur to seek adventure. Yearnings, fears and depression experienced regarding his departure in the future? Resting in the studio! Picasso is only resting, contemplating his powerful appearance as a faun, as a centaur and, in his most striking role, as Eros. Picasso is not tired, on the contrary: he would paint even more intensely, more wildly against death. Six years still remained to him.
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Pablo Picasso
Homme nu couché
Farbkreidezeichnung auf Velin mit Wasserzeichen "GUARRO". 51,8 x 64,4 cm. Unter Glas gerahmt. Oben rechts mit schwarzer Tusche signiert 'Picasso', mit blauer Kreide datiert '4.2.67.' sowie mit brauner Kreide bezeichnet 'I'. - Die Blattränder schwach gebräunt, sonst in guter, farbfrischer Erhaltung.
Zervos Vol. XXVII, 438 mit Abb.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 mit Abb.
Provenienz
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (jeweils auf der Rahmenrückwand mit dem Galerie-Etikett)
Ausstellungen
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, Kat. Nr. 48 mit Farbabb.
Das Motiv ist für Picasso mehr als ungewöhnlich: ein allein liegender, bärtiger Mann! Kein Modell, keine Muse, keine Venus, keine Aphrodite, keine erotische Phantasie beleben ihn? Nun - der Liegende ist nicht irgendein ausruhender Mann, den Picasso vielleicht im Atelier überrascht hat? Ein melancholisch blickender, wie mit einem verschleiernden Vorhang vor Augen Daliegender, den Blick nach innen gerichtet, nackter bärtiger Mann, entspannt ein Bein aufgestützt, das andere darüber geschlagen, die Arme oberhalb des Kopfes verschränkt. Nichts von ständiger Auseinandersetzung, nichts von der Dramatik eines Stierkampfs, nichts von dem tragischen Kampf des Minotaurus, nichts von ungestümen Erosdramen, nichts von den knisternden, nicht nur bis in die Psyche eindringenden Begegnungen zwischen Maler und Modell, nichts von den wundersamen Wünschen des Bildhauers, die Erschaffung einer idealen Skulptur mit Hilfe Pygmalions? Keine überbordende Geste, kein Ritual also, sondern ein sich ausruhender, melancholisch anmutender Mann?
Liegende Männer kommen im Werk Picassos immer vor, etwa in dem zentralen Werk des Künstlers, der „Suite Vollard“, worin Picasso sich Minotaurus als Identifikationsfigur bemächtigt und dessen überschwängliches Leben erzählt, welches schließlich zu dessen Erblindung und dessen Tod in der Arena führen; aber dieser Minotaurus alias Picasso liegt eben nicht alleine da. Wo bleibt die Ekstase des Liebens, Ekstase des Zeichnens? Der Maler ist müde? Der Bildhauer ist müde?
Es bleibt die Sinnlichkeit der Linie, ein kräftiger Körper, kraus gefüllt mit dichten Farbstift-Schleifen über einer zarten Umrisszeichnung, eine Ankündigung kreisender Gedanken im bewegten Raum. 1967, im Entstehungsjahr der Farbstift-Zeichnung, ist Picasso über Mitte Achtzig, seine schöpferische Kraft jedoch ist ungebrochen. Im Gegenteil: Picasso zeichnet und malt unaufhörlich wie nie zuvor. In den Jahren 1966 bis 1968 entstehen über vierhundert Zeichnungen, zahlreiche davon farbig, es folgen 347 graphische Blätter und rund 265 Gemälde. Das Thema „Maler und Modell“ ist nach wie vor zentral, ebenso die Verführung seines Modells, die nie endende Liebe zwischen Amor und Venus, das Abenteuer suchende Hineinschlüpfen in die Rolle des Minotaurus. Gelebte Sehnsüchte, Ängste und Depressionen über den Fortgang in die Zukunft? Ausruhen im Atelier! Picasso ruht sich nur aus, besinnt sich auf den starken Auftritt als Faun, als Kentaur und in seiner eindrucksvollsten Rolle, als Eros. Picasso ist nicht müde, im Gegenteil: er wird noch intensiver, noch wilder gegen den Tod anmalen; es bleiben ihm noch sechs Jahre.
Pablo Picasso
Homme nu couché
Colour wax crayon drawing on wove paper with watermark "GUARRO". 51,8 x 64,4 cm. Framed under glass. Signed, dated and inscribed 'Picasso 4.2.67.I' in blue crayon upper right and inscribed 'I' in brown crayon. - The sheet edges weakly browned, otherwise in fine condition with vibrant colours.
Zervos Vol. XXVII, 438 with illus.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 with illus.
Provenance
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (each with gallery label on back cover of frame)
Exhibitions
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, cat. no. 48 with colour illus.
For Picasso this motif is more than just unusual: a bearded man lying alone! No model, no muse, no Venus, no Aphrodite, no erotic fantasy animating him? Now, the reclining figure is not simply some resting man that Picasso perhaps caught by surprise in his studio? A nude bearded man with a melancholic look, lying there as if his eyes were shrouded by a curtain, his gaze turned inward, one of his legs bent in a relaxed pose and the other laid across it, his arms crossed above his head. There is nothing of the constant struggle, nothing of the drama of a bull fight, nothing of the tragic battle of the Minotaur, nothing of the unbridled dramas of Eros, nothing of the electric encounters between painter and model penetrating more than just the psyche, nothing of the sculptor's fantastic wishes to create an ideal sculpture with the help of Pygmalion? No excessive gestures, that is, no ritual - and instead a relaxing, seemingly melancholy man?
Reclining male figures often appear in Picasso's work, for example, in the “Suite Vollard”, a central work by Picasso in which he appropriates and identifies himself with the figure of the Minotaur and narrates his excessive life, finally leading to his blinding and death in the arena, but of course this Minotaur-as-Picasso does not lie there alone. Where is the ecstasy of love, the ecstasy of drawing? Is the painter tired? Is the sculptor tired?
What remains is the sensuality of line, a powerful body filled with the dense curls of loops drawn in coloured crayon over a delicate contour drawing, an indication of thoughts circling in a dynamic space. In 1967, the year this coloured crayon drawing was created, Picasso was in his mid-80s, but his creative power remained unbroken. Quite the opposite: Picasso was drawing and painting ceaselessly, like never before. In the years 1966 to 1968 he created over 400 drawings, many of them in colour, and these were joined by 347 prints and around 265 paintings. The theme of “painter and model” still continued to be central, as was the seduction of his model, the never-ending love between Amor and Venus, his slipping into the role of the Minotaur to seek adventure. Yearnings, fears and depression experienced regarding his departure in the future? Resting in the studio! Picasso is only resting, contemplating his powerful appearance as a faun, as a centaur and, in his most striking role, as Eros. Picasso is not tired, on the contrary: he would paint even more intensely, more wildly against death. Six years still remained to him.
Homme nu couché
Farbkreidezeichnung auf Velin mit Wasserzeichen "GUARRO". 51,8 x 64,4 cm. Unter Glas gerahmt. Oben rechts mit schwarzer Tusche signiert 'Picasso', mit blauer Kreide datiert '4.2.67.' sowie mit brauner Kreide bezeichnet 'I'. - Die Blattränder schwach gebräunt, sonst in guter, farbfrischer Erhaltung.
Zervos Vol. XXVII, 438 mit Abb.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 mit Abb.
Provenienz
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (jeweils auf der Rahmenrückwand mit dem Galerie-Etikett)
Ausstellungen
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, Kat. Nr. 48 mit Farbabb.
Das Motiv ist für Picasso mehr als ungewöhnlich: ein allein liegender, bärtiger Mann! Kein Modell, keine Muse, keine Venus, keine Aphrodite, keine erotische Phantasie beleben ihn? Nun - der Liegende ist nicht irgendein ausruhender Mann, den Picasso vielleicht im Atelier überrascht hat? Ein melancholisch blickender, wie mit einem verschleiernden Vorhang vor Augen Daliegender, den Blick nach innen gerichtet, nackter bärtiger Mann, entspannt ein Bein aufgestützt, das andere darüber geschlagen, die Arme oberhalb des Kopfes verschränkt. Nichts von ständiger Auseinandersetzung, nichts von der Dramatik eines Stierkampfs, nichts von dem tragischen Kampf des Minotaurus, nichts von ungestümen Erosdramen, nichts von den knisternden, nicht nur bis in die Psyche eindringenden Begegnungen zwischen Maler und Modell, nichts von den wundersamen Wünschen des Bildhauers, die Erschaffung einer idealen Skulptur mit Hilfe Pygmalions? Keine überbordende Geste, kein Ritual also, sondern ein sich ausruhender, melancholisch anmutender Mann?
Liegende Männer kommen im Werk Picassos immer vor, etwa in dem zentralen Werk des Künstlers, der „Suite Vollard“, worin Picasso sich Minotaurus als Identifikationsfigur bemächtigt und dessen überschwängliches Leben erzählt, welches schließlich zu dessen Erblindung und dessen Tod in der Arena führen; aber dieser Minotaurus alias Picasso liegt eben nicht alleine da. Wo bleibt die Ekstase des Liebens, Ekstase des Zeichnens? Der Maler ist müde? Der Bildhauer ist müde?
Es bleibt die Sinnlichkeit der Linie, ein kräftiger Körper, kraus gefüllt mit dichten Farbstift-Schleifen über einer zarten Umrisszeichnung, eine Ankündigung kreisender Gedanken im bewegten Raum. 1967, im Entstehungsjahr der Farbstift-Zeichnung, ist Picasso über Mitte Achtzig, seine schöpferische Kraft jedoch ist ungebrochen. Im Gegenteil: Picasso zeichnet und malt unaufhörlich wie nie zuvor. In den Jahren 1966 bis 1968 entstehen über vierhundert Zeichnungen, zahlreiche davon farbig, es folgen 347 graphische Blätter und rund 265 Gemälde. Das Thema „Maler und Modell“ ist nach wie vor zentral, ebenso die Verführung seines Modells, die nie endende Liebe zwischen Amor und Venus, das Abenteuer suchende Hineinschlüpfen in die Rolle des Minotaurus. Gelebte Sehnsüchte, Ängste und Depressionen über den Fortgang in die Zukunft? Ausruhen im Atelier! Picasso ruht sich nur aus, besinnt sich auf den starken Auftritt als Faun, als Kentaur und in seiner eindrucksvollsten Rolle, als Eros. Picasso ist nicht müde, im Gegenteil: er wird noch intensiver, noch wilder gegen den Tod anmalen; es bleiben ihm noch sechs Jahre.
Pablo Picasso
Homme nu couché
Colour wax crayon drawing on wove paper with watermark "GUARRO". 51,8 x 64,4 cm. Framed under glass. Signed, dated and inscribed 'Picasso 4.2.67.I' in blue crayon upper right and inscribed 'I' in brown crayon. - The sheet edges weakly browned, otherwise in fine condition with vibrant colours.
Zervos Vol. XXVII, 438 with illus.; The Picasso Project, The Sixties II (Wofsy 2002), 67-044 with illus.
Provenance
Galerie Louise Leiris, Paris; Marlborough Fine Art, Ltd., London (1970); Saidenberg Gallery, New York; Galerie Taménaga, Paris; Galerie Michael Haas, Berlin (each with gallery label on back cover of frame)
Exhibitions
London 1970 (Marlborough Fine Art, Ltd.), Moore, Picasso, Sutherland. Drawings, Watercolours, Gouaches, cat. no. 48 with colour illus.
For Picasso this motif is more than just unusual: a bearded man lying alone! No model, no muse, no Venus, no Aphrodite, no erotic fantasy animating him? Now, the reclining figure is not simply some resting man that Picasso perhaps caught by surprise in his studio? A nude bearded man with a melancholic look, lying there as if his eyes were shrouded by a curtain, his gaze turned inward, one of his legs bent in a relaxed pose and the other laid across it, his arms crossed above his head. There is nothing of the constant struggle, nothing of the drama of a bull fight, nothing of the tragic battle of the Minotaur, nothing of the unbridled dramas of Eros, nothing of the electric encounters between painter and model penetrating more than just the psyche, nothing of the sculptor's fantastic wishes to create an ideal sculpture with the help of Pygmalion? No excessive gestures, that is, no ritual - and instead a relaxing, seemingly melancholy man?
Reclining male figures often appear in Picasso's work, for example, in the “Suite Vollard”, a central work by Picasso in which he appropriates and identifies himself with the figure of the Minotaur and narrates his excessive life, finally leading to his blinding and death in the arena, but of course this Minotaur-as-Picasso does not lie there alone. Where is the ecstasy of love, the ecstasy of drawing? Is the painter tired? Is the sculptor tired?
What remains is the sensuality of line, a powerful body filled with the dense curls of loops drawn in coloured crayon over a delicate contour drawing, an indication of thoughts circling in a dynamic space. In 1967, the year this coloured crayon drawing was created, Picasso was in his mid-80s, but his creative power remained unbroken. Quite the opposite: Picasso was drawing and painting ceaselessly, like never before. In the years 1966 to 1968 he created over 400 drawings, many of them in colour, and these were joined by 347 prints and around 265 paintings. The theme of “painter and model” still continued to be central, as was the seduction of his model, the never-ending love between Amor and Venus, his slipping into the role of the Minotaur to seek adventure. Yearnings, fears and depression experienced regarding his departure in the future? Resting in the studio! Picasso is only resting, contemplating his powerful appearance as a faun, as a centaur and, in his most striking role, as Eros. Picasso is not tired, on the contrary: he would paint even more intensely, more wildly against death. Six years still remained to him.
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24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
or:
24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
or.
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR
AGB
Conditions of Sale
1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, -telephonically or via the internet. The placing of bids in absentia must reach -Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with ticket number and item description. In the event of ambiguities, the listed ticket number -becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b – d of the Civil Code) do not -apply. Telephonic bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction. The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
