Lot

76

Pablo Picasso, Étude pour la chèvre

In Evening Sale - Modern and Contemporary Art

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Köln
Pablo Picasso, Étude pour la chèvre
Pencil on paper. 26.9 x 21 cm. Framed under glass. Unsigned. Dated '20.3.50' lower centre within depiction. - Very good condition.

The Picasso Project 50-009 (a)

Photo-certificate from Comité Picasso, dated 16 Oct. 1986

Provenance
Sotheby's London, Auction 29 Jun.1994, lot 402i; Villa Grisebach Berlin, Auktion 44, 27 May 1995, lot 336; Private collection, Hesse

In 1950 Pablo Picasso occupied himself intensively with the motif of the goat. In addition to his ambitious picture of a reclining goat, a painting on canvas measuring over two metres in width, he also created a free-standing and likewise quite large sculpture of a goat, which was one of the first pieces he assembled out of found objects. Picasso’s wife at that time, Françoise Gilot, has vividly described how he proceeded with this sculpture: “A palm leaf served as the spine, an old willow-wicker basket as the belly, pieces of iron and wood as legs, two ceramic jugs as udders, a tin can as breastbone and grapevines as horns and beard: the animal was formed gradually in plaster, which enclosed this whole motley assortment of parts and held them together […]” (cited in: Picasso-Museum Paris, München 1985, p. 145.). The sculpture was realised in plaster and later in bronze as well.
The extensively elaborated and softly modelled pencil drawing “Étude pour la chèvre” is presumably also to be placed within this context. With rapid, confident strokes of the pencil, Picasso has sketched the goat’s trunk, its long neck and its raised head with an open mouth. He has used deliberate smudging to suggest its shaggy fur and provide the body with three-dimensional form. A delightful aspect of this sheet is the second drawing in the lower right corner, where he has experimented with the depiction of the goat’s head as seen from the front.
Pablo Picasso, Étude pour La chèvre
Bleistift auf Papier. 26,9 x 21 cm. Unter Glas gerahmt. Unbezeichnet. Unten mittig innerhalb der Darstellung datiert '20.3.50'. - Guter Zustand.

The Picasso Project 50-009 (a)

Mit einer Foto-Expertise des Comité Picasso, Paris, vom 16.10.1986

Provenienz
Sotheby's London, Auktion 29.6.1994, Lot 402i; Villa Grisebach Berlin, Auktion 44, 27.5.1995, Lot 336; Privatsammlung Hessen

Im Jahr 1950 beschäftigte sich Pablo Picasso intensiv mit dem Motiv der Ziege. Abgesehen von dem ambitionierten Bild einer liegenden Ziege, einem Leinwandgemälde von über zwei Metern Breite, fertigte er auch eine freistehende, ebenfalls recht große Plastik einer Ziege an, die er als eine der ersten Arbeiten aus gefundenen Objekten phantasievoll zusammensetzte. Picassos damalige Frau Francoise Gilot schilderte anschaulich, wie Picasso bei dieser Skulptur vorging: „Ein Palmblatt diente als Rückgrat, ein alter Korb aus Weidengeflecht als Bauch, Eisenstücke und Holz als Beine, zwei Keramikkrüge als Euter, eine Konservenbüchse als Brustbein und Weinstöcke als Hörner und Bart: das Tier wurde allmählich aus Gips geformt, der alle diese bunt zusammengewürfelten Teile umschließt und zusammenhält […].“ (zit. nach: Picasso-Museum Paris, München 1985, S. 145.) Diese Plastik wurde in Gips und später auch in Bronze ausgeführt.
In diesem Zusammenhang dürfte auch die zum Aufruf kommende, weit ausgeführte und weich modellierte Bleistiftzeichnung „Étude pour la chèvre“ einzuordnen sein. Mit schnellen, sicheren Bleistiftzügen skizzierte Picasso den Rumpf der Ziege, ihren langen Hals und den erhobenen Kopf mit geöffnetem Maul. Mit gezielten Verwischungen suggerierte er ihr struppiges Fell und verlieh dem Körper Plastizität. Das Reizvolle an diesem Blatt ist die zweite Zeichnung in der unteren rechten Ecke, wo er mit der Darstellung des Ziegenkopfes von vorn experimentierte.
Pablo Picasso, Étude pour la chèvre
Pencil on paper. 26.9 x 21 cm. Framed under glass. Unsigned. Dated '20.3.50' lower centre within depiction. - Very good condition.

The Picasso Project 50-009 (a)

Photo-certificate from Comité Picasso, dated 16 Oct. 1986

Provenance
Sotheby's London, Auction 29 Jun.1994, lot 402i; Villa Grisebach Berlin, Auktion 44, 27 May 1995, lot 336; Private collection, Hesse

In 1950 Pablo Picasso occupied himself intensively with the motif of the goat. In addition to his ambitious picture of a reclining goat, a painting on canvas measuring over two metres in width, he also created a free-standing and likewise quite large sculpture of a goat, which was one of the first pieces he assembled out of found objects. Picasso’s wife at that time, Françoise Gilot, has vividly described how he proceeded with this sculpture: “A palm leaf served as the spine, an old willow-wicker basket as the belly, pieces of iron and wood as legs, two ceramic jugs as udders, a tin can as breastbone and grapevines as horns and beard: the animal was formed gradually in plaster, which enclosed this whole motley assortment of parts and held them together […]” (cited in: Picasso-Museum Paris, München 1985, p. 145.). The sculpture was realised in plaster and later in bronze as well.
The extensively elaborated and softly modelled pencil drawing “Étude pour la chèvre” is presumably also to be placed within this context. With rapid, confident strokes of the pencil, Picasso has sketched the goat’s trunk, its long neck and its raised head with an open mouth. He has used deliberate smudging to suggest its shaggy fur and provide the body with three-dimensional form. A delightful aspect of this sheet is the second drawing in the lower right corner, where he has experimented with the depiction of the goat’s head as seen from the front.
Pablo Picasso, Étude pour La chèvre
Bleistift auf Papier. 26,9 x 21 cm. Unter Glas gerahmt. Unbezeichnet. Unten mittig innerhalb der Darstellung datiert '20.3.50'. - Guter Zustand.

The Picasso Project 50-009 (a)

Mit einer Foto-Expertise des Comité Picasso, Paris, vom 16.10.1986

Provenienz
Sotheby's London, Auktion 29.6.1994, Lot 402i; Villa Grisebach Berlin, Auktion 44, 27.5.1995, Lot 336; Privatsammlung Hessen

Im Jahr 1950 beschäftigte sich Pablo Picasso intensiv mit dem Motiv der Ziege. Abgesehen von dem ambitionierten Bild einer liegenden Ziege, einem Leinwandgemälde von über zwei Metern Breite, fertigte er auch eine freistehende, ebenfalls recht große Plastik einer Ziege an, die er als eine der ersten Arbeiten aus gefundenen Objekten phantasievoll zusammensetzte. Picassos damalige Frau Francoise Gilot schilderte anschaulich, wie Picasso bei dieser Skulptur vorging: „Ein Palmblatt diente als Rückgrat, ein alter Korb aus Weidengeflecht als Bauch, Eisenstücke und Holz als Beine, zwei Keramikkrüge als Euter, eine Konservenbüchse als Brustbein und Weinstöcke als Hörner und Bart: das Tier wurde allmählich aus Gips geformt, der alle diese bunt zusammengewürfelten Teile umschließt und zusammenhält […].“ (zit. nach: Picasso-Museum Paris, München 1985, S. 145.) Diese Plastik wurde in Gips und später auch in Bronze ausgeführt.
In diesem Zusammenhang dürfte auch die zum Aufruf kommende, weit ausgeführte und weich modellierte Bleistiftzeichnung „Étude pour la chèvre“ einzuordnen sein. Mit schnellen, sicheren Bleistiftzügen skizzierte Picasso den Rumpf der Ziege, ihren langen Hals und den erhobenen Kopf mit geöffnetem Maul. Mit gezielten Verwischungen suggerierte er ihr struppiges Fell und verlieh dem Körper Plastizität. Das Reizvolle an diesem Blatt ist die zweite Zeichnung in der unteren rechten Ecke, wo er mit der Darstellung des Ziegenkopfes von vorn experimentierte.

Evening Sale - Modern and Contemporary Art

Sale Date(s)
Lots: 98
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Köln
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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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