PABLO PICASSO (SPANISH, 1881-1973)
This Lot has been sourced from overseas. When au… Read more PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION
PABLO PICASSO (SPANISH, 1881-1973)

Tête d’homme

Details
PABLO PICASSO (SPANISH, 1881-1973)
Tête d’homme
signed, dated and dedicated ‘Picasso 24.7.66. Pour Le Dupont’ (along the upper edge)
colored wax crayons on paper
29.5 × 24.5 cm. (11 5/8 × 9 5/8 in.)
Drawn on 24 July 1966
Provenance
Private collection, Austria (acquired from the artist).
Acquired by the present owner, 2014.
Special notice

This Lot has been sourced from overseas. When auctioned, such property will remain under “bond” with the applicable import customs duties and taxes being deferred unless and until the property is brought into free circulation in the PRC. Prospective buyers are reminded that after paying for such lots in full and cleared funds, if they wish to import the lots into the PRC, they will be responsible for and will have to pay the applicable import customs duties and taxes. The rates of import customs duty and tax are based on the value of the goods and the relevant customs regulations and classifications in force at the time of import.
Post lot text
The present drawing was executed on the frontispiece for the book Les Picasso de Picasso, written by David Douglas Duncan in 1961.
Sale room notice
Please note that Maya Widmaier-Picasso has also confirmed the authenticity of Lot 214.
玛雅.维德迈尔─毕卡索已确认拍品编号214的真实性。

Lot Essay

Claude Picasso has confirmed the authenticity of this work.
Maya Widmaier-Picasso has confirmed the authenticity of this work.

“A few lines,” Picasso declared, “that’s enough isn’t it? What more need I do? What has to happen, when you finally look at it, is that drawing and color are the same thing” (quoted in Late Picasso, exh. cat., Tate Gallery, London, 1988, p. 85).

Executed in 1966 using strong colorful lines, in te dhomme Picasso playfully combines two horses’ heads to form a brawny man’s face. Picasso's works often feature a sense of fun and play, and this increased greatly in his later works, which were often peopled by a huge range of eccentric, dashing and imaginary characters. Many of the heads of men were often analogues for the artist himself, as was the case with the harlequins, matadors, musketeers and artists who often populate these compositions.

Here, Picasso demonstrates that he was continuing to push the boundaries of art, deconstructing his subject in order to reconstruct it in new and unexpected ways. By the time he created te d'homme, he was a living legend, identified with figuration by generations. While figuration and facture, at each end of the artistic spectrum, may have been disregarded by artists who had embraced either abstraction or Pop, Picasso was continuing to examine its relevance, and was doing so in a manner that also explored his own life and legacy.
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