Details
Pablo Picasso (1881-1973)
Le Visage de la Paix
A collection of 23 pencil drawings, of which two are heightened with coloured crayon, from the set of 29, all dated 15.12.50.

1. Tête de Colombe, dated '5.12.50' (upper left), pencil on paper
2. Colombe, Visage et Blé, dated and numbered '5.12.50 II' (upper left), pencil on paper

3. Colombe, Visage et Fleur, dated and numbered '5.12.50 III' (upper left), pencil on paper

4. Colombe aux Ailes ouvertes, Visage et Fleur, dated and numbered '5.12.50 VI' (upper left), coloured crayon and pencil on paper

5. Colombe, Visage, Mains et Fleur, dated and numbered '5.12.50 VII' (lower left), pencil on paper

6. Colombe au Rameau d'Olivier, Visage et Main, dated and numbered '2.12.50 X' (lower left), pencil on paper

7. Colombe battant des Ailes et Visage, dated and numbered 5.12.50 XI' (lower left), pencil on paper

8. Colombe battant des Ailes et Visage, dated and numbered '5.12.50 XII' (lower left), pencil on paper

9. Colombe au Rameau d'Olivier, Visage, Main et Feuille de Chêne, dated and numbered '5.12.50 XIII' (upper left), pencil on paper

10. Colombe au Rameau d'Olivier et Visage, dated and numbered '5.12.50 XIV' (lower left), pencil on paper

11. Colombe battant des Ailes et Visage, dated and numbered '5.12.50 XV (lower right), pencil on paper

12. Visage, dated and numbered '5.12.50 XVI' (upper left), pencil on paper

13. Colombe battant des Ailes et Visage, dated and numbered '5.12.50 XVII' (lower left), pencil on paper

14. Colombe aux Ailes ouvertes et Visage-soleil, dated and numbered '5.12.50 XVIII' (lower left), coloured crayon and pencil on paper

15. Colombe au Rameau d'Olivier et Visage-soleil, dated and numbered '5.12.50 XIX' (lower left), coloured crayon and pencil on paper

16. Colombe à la Fleur et Visage, dated and numbered '5.12.50 XXI' (lower left), pencil on paper

17. Colombe aux Epis de Blé et Visage, dated and numbered '5.12.50 XXII' (lower left), pencil on paper

18. Colombe aux Ailes ouvertes et Visage, dated and numbered '5.12.50 XXIII' (upper left), pencil on paper

19. Colombe aux Ailes ouvertes et Visage, dated and numbered '5.12.50 XXIV (lower left), pencil on paper

20. Colombe aux Ailes ouvertes et Visage, dated and numbered '5.12.50 XXV' (lower left), pencil on paper

21. Colombe aux Ailes ouvertes et Visage, dated and numbered '5.12.50 XXVI' (upper left), pencil on paper

22. Colombe aux Ailes ouvertes et Visage, dated and numbered '5.12.50 XXVII' (lower left), pencil on paper

23. Colombe et Visage-soleil, dated and numbered '5.12.50 XXVIII' (lower left), pencil on paper
each 6¼ x 8 3/8in. (15 x 21.3cm.)
Drawn on 5 December 1950 (23)
Sale room notice
Please note that the exhibition history and literature for this lot is as follows:
Exhibited:
Geneva, Musée de l'Athénée, April 1974.
London, Lever Galleries, June-July 1977.
Literature:
Cercles d'Art (ed.), Le Visage de la Paix par Picasso et Elvard, Paris, 1951 (illustrated).
Paul Eluard, Anthologie des Ecrits sur l'Art, Paris, 1972, no. 111-139 (illustrated).
This lot is sold with photo certificates from Claude Ruiz Picasso dated le 6 juin 1977.

Lot Essay

Sold with an original copy of the book as published by Editions Cercle d'Art, Paris, October 1951 with colour offset reproductions of these drawings. This copy numbered 830 from the edition of 2000.

In December 1950 Picasso executed twenty-nine drawings to illustrate Paul Eluard's collection of poems Le Visage de la Paix.

Both men were active members of the Mouvement de la Paix and Picasso had previously worked on the theme of the dove as symbol of peace, most noticeably in two posters of 1949. Louis Aragon chose a wash drawing of a dove with feathery feet set against a black background to publicise the Congrès Mondial de la Paix, held in Paris, and in July 1949 Picasso drew a dove in flight for the poster of the IIème Congrès de la Paix, held in London in November 1950.

In the Visage de la Paix drawings, Picasso uses varying combinations of a dove and a woman's face to accompany Eluard's poems, which expounded the virtues of peace and the efforts which should be made to maintain it. The dove first appears next to a face without features, which slowly appear as the bird draws nearer and nearer. The sequence climaxes when the dove and face become one, which accompanied Eluard's lines

"Je connais tous les lieux où la colombe loge
Et la plus naturel est la tête de l'homme"

Le Visage de la Paix was to be the last time which Picasso and Eluard worked together. Eluard died one year after the book was published.

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