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Journal, verre, bouteille de Bass, guitare
Details
Pablo Picasso (1881-1973)
Journal, verre, bouteille de Bass, guitare
gouache et fusain sur papier
26.2 x 25.3 cm.
Exécuté à Paris en 1914
gouache and charcoal on paper
10 3/8 x 10 in.
Executed in Paris in 1914
Journal, verre, bouteille de Bass, guitare
gouache et fusain sur papier
26.2 x 25.3 cm.
Exécuté à Paris en 1914
gouache and charcoal on paper
10 3/8 x 10 in.
Executed in Paris in 1914
Provenance
Dollie et Pierre Chareau, Paris et New York (avant 1927 et probablement jusqu'à au moins 1962).
Annie et Jean Dalsace, Paris (probablement acquis auprès de ceux-ci avant 1967).
Aline Dalsace, Paris (par descendance).
Acquis dans les années 1970-80 par l’intermédiaire de Pierre Daix.
Annie et Jean Dalsace, Paris (probablement acquis auprès de ceux-ci avant 1967).
Aline Dalsace, Paris (par descendance).
Acquis dans les années 1970-80 par l’intermédiaire de Pierre Daix.
Literature
P. Daix et J. Rosselet, Picasso, The Cubist Years, 1907-1916, A Catalogue Raisonné of the Paintings and Related Works, Londres, 1979, p. 324, no. 709 (illustré; daté 'printemps 1914').
C. Zervos, Pablo Picasso, Supplément aux volumes 1 à 5, Paris, 1983, vol. 6, no. 1184 (illustré, pl. 142; daté '1913 ou 1914').
J. Palau i Fabre, Picasso Cubisme, 1907-1917, Cologne, 1998, no. 1045 (illustré, p. 364; daté 'hiver printemps 1914').
M. Vellay, Portraits croisés, La Maison de Verre Dalsace/Chareau, Paris, 2021, p. 144, 146 et 152 (illustré in situ, p. 144 et 152).
C. Zervos, Pablo Picasso, Supplément aux volumes 1 à 5, Paris, 1983, vol. 6, no. 1184 (illustré, pl. 142; daté '1913 ou 1914').
J. Palau i Fabre, Picasso Cubisme, 1907-1917, Cologne, 1998, no. 1045 (illustré, p. 364; daté 'hiver printemps 1914').
M. Vellay, Portraits croisés, La Maison de Verre Dalsace/Chareau, Paris, 2021, p. 144, 146 et 152 (illustré in situ, p. 144 et 152).
Exhibited
New York, Saidenberg Gallery, Picasso, an American tribute, avril-mai 1962, no. 16 (illustré; daté '1913').
Special notice
Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also 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.
Further details
Exécuté en 1914, Journal, verre, bouteille de Bass, guitare est une précieuse illustration de la dernière évolution du Cubisme ; courant artistique grâce auquel Pablo Picasso et Georges Braque ont changé la nature et la direction de l'art moderne. Malgré le déclenchement de la Première Guerre mondiale et ses conséquences sur l'avant-garde, Picasso continue de faire évoluer le cubisme de manière significative, passant du cubisme analytique au cubisme synthétique. Après la rigueur du cubisme analytique, qui se caractérise par une palette restreinte et une codification menant parfois à des confusions entre les œuvres des deux pionniers de ce mouvement, un nouveau changement s’annonce. Ce changement est en partie provoqué par l’émergence du papier collé, au cours des deux années précédant l’exécution de Journal, verre, bouteille de Bass, guitare, comme nouvelle technique à part entière. L’héritage du papier collé se fait ici ressentir dans l’emploi de gouache blanche qui contraste avec l’arrière de la feuille laissée majoritairement en réserve. Au lieu de coller du papier, Picasso peint cette forme, de façon à ce qu’elle ressemble à un papier coupé et collé. Si la phase synthétique du Cubisme se caractérise certes par l’introduction de papiers collés sur les supports, elle se distingue également par l’introduction de signes et de symboles qui viennent rythmer le tableau ainsi que nous le voyons à l’œuvre dans Journal, verre, bouteille de Bass, guitare. Il se dégage des compositions de cette dernière période du cubisme un certain retour à l’ordre ; les facettes planes et souvent complexes du cubisme analytique cède le pas aux formes plus simples et plus clairement délimitées du cubisme synthétique, vues à l’œuvre dans la présente œuvre.
Ainsi, Journal, verre, bouteille de Bass, guitare se veut un précieux témoignage de la dernière période de l’histoire du cubisme. Le mouvement s’achève en 1914, alors que la Première Guerre mondiale éclate. Braque est mobilisé tandis que Picasso, étranger, est exclu de l’action. Le duo se sépare, laissant Picasso libre de s’essayer à de nouvelles approches artistiques. Lorsque Braque revient de la guerre, il adopte lui aussi un nouveau style.
Executed in 1914, Journal, verre, bouteille de Bass, guitare is a great example of Picasso’s last Cubist manner, the movement with which he and Georges Braque changed the entire nature and direction of modern art. Despite the outbreak of the First World War and its lasting implications on the French avant-garde, Picasso continued to make significant developments to Cubism transitioning from the Analytical to the Synthetic. After the rigorous discipline of Analytical Cubism, pioneered by Picasso and Georges Braque over the previous years, which often featured a deliberately restrained palette and which was codified to such a degree that some of the works of each artist could be mistaken for the other’s, a new change was coming about. This had in part been brought about by the emergence of collage as a technique within Cubist pictures, especially over the couple years before Journal, verre, bouteille de Bass, guitare was executed. In this picture, the legacy of collage is clear to see in the use of white gouache contrasting with the rest of the sheet, so much of which has been left in reserve. Instead of applying a piece of paper, as in a regular papier collé, Picasso has painted in this form, so that is resembles a cut and pasted paper. If the synthetic phase of Cubism is certainly characterized by the introduction of papers glued on the supports, it is also distinguished by the introduction of signs and symbols which give rhythm to the composition as illustrated in Journal, verre, bouteille de Bass, guitare. Furthermore, the often ambiguous planar faceting of analytic Cubism seems to give way to the simpler and more clearly delineated shapes seen in the present drawing.
Therefore, Journal, verre, bouteille de Bass, guitare is a precious testimony to the last period of the history of Cubism. The movement came to an end in 1914, when the First World War broke out. Georges Braque joined the French army, a day after general mobilization was declared, while Picasso, a foreigner, was excluded from the action. The duo split up, and the field was left open for Picasso to develop in a new direction. When Braque returned from the war, he would himself adopt his very own style.
Ainsi, Journal, verre, bouteille de Bass, guitare se veut un précieux témoignage de la dernière période de l’histoire du cubisme. Le mouvement s’achève en 1914, alors que la Première Guerre mondiale éclate. Braque est mobilisé tandis que Picasso, étranger, est exclu de l’action. Le duo se sépare, laissant Picasso libre de s’essayer à de nouvelles approches artistiques. Lorsque Braque revient de la guerre, il adopte lui aussi un nouveau style.
Executed in 1914, Journal, verre, bouteille de Bass, guitare is a great example of Picasso’s last Cubist manner, the movement with which he and Georges Braque changed the entire nature and direction of modern art. Despite the outbreak of the First World War and its lasting implications on the French avant-garde, Picasso continued to make significant developments to Cubism transitioning from the Analytical to the Synthetic. After the rigorous discipline of Analytical Cubism, pioneered by Picasso and Georges Braque over the previous years, which often featured a deliberately restrained palette and which was codified to such a degree that some of the works of each artist could be mistaken for the other’s, a new change was coming about. This had in part been brought about by the emergence of collage as a technique within Cubist pictures, especially over the couple years before Journal, verre, bouteille de Bass, guitare was executed. In this picture, the legacy of collage is clear to see in the use of white gouache contrasting with the rest of the sheet, so much of which has been left in reserve. Instead of applying a piece of paper, as in a regular papier collé, Picasso has painted in this form, so that is resembles a cut and pasted paper. If the synthetic phase of Cubism is certainly characterized by the introduction of papers glued on the supports, it is also distinguished by the introduction of signs and symbols which give rhythm to the composition as illustrated in Journal, verre, bouteille de Bass, guitare. Furthermore, the often ambiguous planar faceting of analytic Cubism seems to give way to the simpler and more clearly delineated shapes seen in the present drawing.
Therefore, Journal, verre, bouteille de Bass, guitare is a precious testimony to the last period of the history of Cubism. The movement came to an end in 1914, when the First World War broke out. Georges Braque joined the French army, a day after general mobilization was declared, while Picasso, a foreigner, was excluded from the action. The duo split up, and the field was left open for Picasso to develop in a new direction. When Braque returned from the war, he would himself adopt his very own style.