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拍品專文
No artist did more with the medium of still-life painting than Picasso. From the Cubist years onwards, the still-life was the primary means by which Picasso developed and explored his painterly ideas. This is particularly true of the powerful series of still-lifes produced during the Second World War.
Picasso expresses much of the hardship, fear and deprivation of the war years through the dramatic use of harsh angles, muted colour and the crucified forms of his still-life objects. "I have not painted the war," Picasso commented at this time, "because I am not the kind of painter who goes out like a photographer for something to depict. But I have no doubt that the war is in these paintings that I have done". (quoted in P. D. Whitney, 'Picasso is Safe', San Francisco Chronicle, 5 March 1944)
Nature morte au panier de Fruits is one of two striking still-lifes that Picasso painted in the summer of 1942 - a time when the severity of the Nazi Occupation had recently become all too evident in the capital city. On 16 July 1942, 12,884 Jews were rounded up in Paris and transported through the streets to the Vlodrome d'Hiver, a sports arena south of the Eiffel Tower, from where they were deported to the Drancy concentration camp.
For Nature morte au panier de Fruits, Picasso chose a stark palette of army grey and rasor-sharp angular distortion in order to allow the atmosphere of the war to permeate a simple domestic arrangement of household objects. A moving example of the power of Picasso's art to transform the ordinary, it is also an important memento of this horrific period in European history.
Picasso expresses much of the hardship, fear and deprivation of the war years through the dramatic use of harsh angles, muted colour and the crucified forms of his still-life objects. "I have not painted the war," Picasso commented at this time, "because I am not the kind of painter who goes out like a photographer for something to depict. But I have no doubt that the war is in these paintings that I have done". (quoted in P. D. Whitney, 'Picasso is Safe', San Francisco Chronicle, 5 March 1944)
Nature morte au panier de Fruits is one of two striking still-lifes that Picasso painted in the summer of 1942 - a time when the severity of the Nazi Occupation had recently become all too evident in the capital city. On 16 July 1942, 12,884 Jews were rounded up in Paris and transported through the streets to the Vlodrome d'Hiver, a sports arena south of the Eiffel Tower, from where they were deported to the Drancy concentration camp.
For Nature morte au panier de Fruits, Picasso chose a stark palette of army grey and rasor-sharp angular distortion in order to allow the atmosphere of the war to permeate a simple domestic arrangement of household objects. A moving example of the power of Picasso's art to transform the ordinary, it is also an important memento of this horrific period in European history.