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拍品專文
In terms of quantitiy, 1935 was not a highly productive year for Picasso--just eleven canvases and a relatively small number of drawings and sculptures were executed. It is important to note, however, that on 23 March of that year the artist began to work on his tour-de-force La minotauromachie, marking a milestone in the his development as a printmaker.
The present work, which one sees Marie-Thérèse in the midst of brushing her hair, is closely-related to three celebrated Paris paintings of her engaged in other activities, Femme lisant (Zervos, VII, 260; Musée Picasso, Paris), La muse--jeune femme dessinant (Zervos, VIII, 256; Musée National d'Art Moderne, Paris) and Jeune fille dessinant dans un intérieur (Zervos, VIII, 263; The Museum of Modern Art, New York). In each work the palette has changed from the pure, rich tones that characterized the Marie-Thérèse paintings of the early 1930s to a more agitated mixture of purple, red and green.
In reference to a similar work painted on 13 April 1956 (Tête de femme à la fenêtre), Robert Rosenblum has written the following which can also be applied to Femme se coiffant, "Her hands, once soft and pliant, have become as spiky and brittle as artichokes; and her eyes register private stress rather than eternal feminine magic" (R. Rosenblum, "Picasso's Blond Muse: The Reign of Marie-Thérèse Walter", in exh. cat., Picasso and Portraiture, The Museum of Modern Art, New York, 1996-1997, pp. 367-369). These more restless images of Marie-Thérèse prefigure the slow disintegration of their relationship that was to occur in early 1936 with Picassos's introduction to Dora Maar by Paul Eluard.
The present work, which one sees Marie-Thérèse in the midst of brushing her hair, is closely-related to three celebrated Paris paintings of her engaged in other activities, Femme lisant (Zervos, VII, 260; Musée Picasso, Paris), La muse--jeune femme dessinant (Zervos, VIII, 256; Musée National d'Art Moderne, Paris) and Jeune fille dessinant dans un intérieur (Zervos, VIII, 263; The Museum of Modern Art, New York). In each work the palette has changed from the pure, rich tones that characterized the Marie-Thérèse paintings of the early 1930s to a more agitated mixture of purple, red and green.
In reference to a similar work painted on 13 April 1956 (Tête de femme à la fenêtre), Robert Rosenblum has written the following which can also be applied to Femme se coiffant, "Her hands, once soft and pliant, have become as spiky and brittle as artichokes; and her eyes register private stress rather than eternal feminine magic" (R. Rosenblum, "Picasso's Blond Muse: The Reign of Marie-Thérèse Walter", in exh. cat., Picasso and Portraiture, The Museum of Modern Art, New York, 1996-1997, pp. 367-369). These more restless images of Marie-Thérèse prefigure the slow disintegration of their relationship that was to occur in early 1936 with Picassos's introduction to Dora Maar by Paul Eluard.