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拍品专文
Maya Widmaier-Picasso has confirmed the authenticity of this work.
Trois femmes au bord d'une plage belongs to the lyrical group of seated women executed in Paris in 1924 (Zervos V 269-272), which culminated in the present work and Trois baigneuses (Zervos V 273), executed in Juan-les-Pins in the summer of 1924 when Picasso and Olga vacationed there for the first time in four years. With its undulating and sinuous line, it recalls the biomorphic set designs and drawings of dancers that Picasso had executed earlier in the year for Beaumont's ballet Mercure, which opened at the Théâtre de le Cigale in Paris on 18 June. In their gracious sense of movement, however, the biomorphic forms of Trois femmes au bord d'une plage also owe an obvious debt to the monumental but elegant Neoclassical figures in Deux femmes courant sur la plage (La course) (Musée Picasso, Paris; Zervos IV 380), painted in Dinard in 1922 and later used as the drop curtain for Diaghilev's ballet Le Train bleu in 1924.
The present work was acquired by the patron and collector Ramón Vanrell Martorell (1896-1970) in 1924. Vanrell inherited his wealth from a father in the oil business and was to build up a large collection of Spanish and Catalan modern art. During his frequent visits to Juan-les-Pins in the 1920s and 1930s, Vanrell met and befriended Picasso and was able to acquire the present work in the year it was painted.
Trois femmes au bord d'une plage belongs to the lyrical group of seated women executed in Paris in 1924 (Zervos V 269-272), which culminated in the present work and Trois baigneuses (Zervos V 273), executed in Juan-les-Pins in the summer of 1924 when Picasso and Olga vacationed there for the first time in four years. With its undulating and sinuous line, it recalls the biomorphic set designs and drawings of dancers that Picasso had executed earlier in the year for Beaumont's ballet Mercure, which opened at the Théâtre de le Cigale in Paris on 18 June. In their gracious sense of movement, however, the biomorphic forms of Trois femmes au bord d'une plage also owe an obvious debt to the monumental but elegant Neoclassical figures in Deux femmes courant sur la plage (La course) (Musée Picasso, Paris; Zervos IV 380), painted in Dinard in 1922 and later used as the drop curtain for Diaghilev's ballet Le Train bleu in 1924.
The present work was acquired by the patron and collector Ramón Vanrell Martorell (1896-1970) in 1924. Vanrell inherited his wealth from a father in the oil business and was to build up a large collection of Spanish and Catalan modern art. During his frequent visits to Juan-les-Pins in the 1920s and 1930s, Vanrell met and befriended Picasso and was able to acquire the present work in the year it was painted.