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Pablo Picasso (1881-1973)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
Pablo Picasso (1881-1973)

Buste d'homme

Details
Pablo Picasso (1881-1973)
Buste d'homme
signed and dated '7.5.69. Picasso ' (upper left)
oil on corrugated cardboard
28 1/2 x 19 5/8 in. (72.4 x 49.8 cm.)
Painted on 7 May 1969
Provenance
Galerie Louise Leiris, Paris (no. 013010), by whom acquired directly from the artist by 1970.
Annibale Scotti Casanova, Rome.
Acquired from the above by the present owner in 2003.
Literature
C. Zervos, Pablo Picasso, vol. 31, Oeuvres de 1969, Paris, 1976, no. 189 (illustrated pl. 60).
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay

With his elaborate moustache and goatee beard, long curls and clad in a seventeenth-century doublet, the subject of Pablo Picasso’s Buste dhomme is instantly recognisable as the figure of the musketeer, the character who, perhaps more than any other, has come to define the artist’s late work. Many of Picasso's musketeers proclaim their Spanish heritage in his use of the national colours of blood red and golden yellow, which, here, contrast powerfully with the white of the subject’s face and the blue and purple of his hair. The large-eyed stare of the sitter is reminiscent of the artist’s famously powerful, dark eyed mirada fuerte. Painted in May 1969, Buste dhomme dates from one of the most prolific years of Picasso’s life, a time when he was painting with an irrepressible verve, filling canvas after canvas with bold, gestural and highly coloured images.

In early 1966, while in Mougins convalescing from surgery that he had undergone some months previously, Picasso re-read Alexandre Dumas's The Three Musketeers. He had just begun painting again, and before long a new character entered his work, the musketeer, or the Spanish version of the seventeenth-century cavalier, the hidalgo, a rakish nobleman skilled with the sword and daring in his romantic exploits. The brave and virile musketeer was strongly identifiable with the aging artist himself, but also provided Picasso with a pretext to indulge in his love of Rembrandt, Velázquez and other great painters of the past.

Picasso was fond of his musketeers, and liked to ascribe personal qualities to them. Hélène Parmelin recalled how Picasso would play games in front of the canvases; he would point to one or another musketeer and remark, ‘With this one you'd better watch out. That one makes fun of us. That one is enormously satisfied. This one is a grave intellectual. And that one look how sad he is, the poor guy. He must be a painter’ (H. Parmelin, quoted in exh. cat., Picasso: Tradition and Avant-garde, Madrid, 2006, p. 340). The musketeers embody a virtual catalogue of varied human foibles, for which they appear to compensate with the irresistible force of their idealism. Picasso must have lamented a growing absence in the contemporary world of the recklessly individual spirit: the man of purposeful idea and action, a world-transforming genius, as he had been in his youthful career. In this respect, Picasso's appropriation of the musketeer image was an effort to reclaim a heroic stance in life, to affirm his ability, through wit and skill, to remain master of his fate during this final stage of his long life.

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