Pablo Picasso (1881-1973)
Pablo Picasso (1881-1973)

Etude pour La morte (recto and verso)

Details
Pablo Picasso (1881-1973)
Picasso, P.
Etude pour La morte (recto and verso)
signed 'Picasso' (lower right, recto)
pastel, brush, India ink and black chalk (recto); pen and India ink (verso) on paper
17 x 20 in. (43.1 x 50.9 cm.)
Drawn in Paris, 1901
Provenance
Reins Collection, Paris.
Walter P. Chrysler, Jr., Richmond, Virginia (acquired from the above).
Literature
New York Herald Tribune, Sunday, 2 April 1939, Section 6, p. 8.
Life, 4 March 1940, vol. 8, p. 56.
C. Zervos, Pablo Picasso, Paris, 1954, vol. VI, no. 330 (illustrated, pl. 40).
P. Daix and G. Boudaille, Picasso The Blue and Rose Periods: A Catalogue Raisonn of the Paintings, 1900-1906, Greenwich, Connecticut, 1968, p. 193.
J. Palau i Fabre, Picasso, The Early Years 1881-1907, New York, 1981, p. 536, no. 685 (illustrated, p. 273).
Exhibited
New York, The Museum of Modern Art; The Art Institute of Chicago; The St. Louis Museum, and Boston, The Museum of Fine Arts, Picasso: Forty Years of his Art, November 1939-May 1940, p. 28, no. 13 (illustrated; titled Burial).
Richmond, The Virginia Museum of Fine Arts, and The Philadelphia Museum of Art, The Collection of Walter P. Chrysler, Jr., January-May 1941, p. 115, no. 203 (titled Enterrement and dated 1904).

Lot Essay

On 17 February 1901, Picasso's close friend Carlos Casagemas committed suicide at a restaurant in Barcelona, an event which devastated the artist to such a degree that it pushed him into the melancholy of his Blue Period. The significance of this event in Picasso's life can be seen in five oil paintings and numerous drawings he made that year.

The present drawing is a study for La morte (Zervos, vol. I, no. 52), one of two monumental burial scenes painted in Paris that year. Here Picasso shows the shrouded body attended by professional mourners. There are references to classical sacred painting, especially to the works of El Greco, in the placement of the mourners lifting the body. Picasso subsequently simplified the positioning of the figures in the masterpiece of this series, Evocation (The Burial of Casagemas (Zervos, vol. I, no. 55; coll. Muse d'Art Modern de la Ville de Paris) to give greater emphasis to the allegorical figures seen in the upper half of the composition.

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