.jpg?w=1)
拍品專文
Executed in July 1946, Tête de femme (Françoise) is not only a tribute to Picasso's new lover, Françoise Gilot, but also to his old friend and adversary, Henri Matisse. Much of the Spaniard's work was influenced by the innovations and themes adopted and explored by the senior French master, but it was only in the Post-War years that the two began to work almost side by side. In Tête de femme (Françoise), even the ornamental background, which smacks of the Oriental drapes made so famous in Matisse's works, appears as a tribute to the other artist.
During the period immediately following the Second World War, Matisse and Picasso found themselves together in the public eye, ranked as the greatest living artists and especially celebrate by the French. Both within and without official functions and joint exhibitions, the two began to see each other more and more frequently, as recorded in Françoise's writing. This period was one of intense activity for Picasso both in professional and personal terms. Indeed, Tête de femme (Françoise) was executed only a couple of months after the pair openly and officially became a couple and moved in together, for Dora had remained on the scene for some time, despite Françoise having already featured in Picasso's life and art for two years. However, Picasso had until then almost always encrypted his images of his lover. It was only now that he could openly depict her true form. Françoise was only just in her twenties, a youthful and active artist in her own right, and managed to fuel Picasso's momentum in the years that saw him cement his reputation as the artist. This image of her, with the swirls of her hair, is filled with movement and shape, despite Picasso's own restraint in leaving the work strikingly simple. Indeed, the ornamentation behind Françoise serves to clutter up the background only just enough to lend the clear, untouched roundness of her face a huge impact, her huge eyes starstruck pools in the middle, her expression an image of devotion. Françoise was herself a great Matisse enthusiast, and so her depiction here in a picture filled with the texture and exoticism more often associated with his work than Picasso's is a tribute to her in itself.
During the period immediately following the Second World War, Matisse and Picasso found themselves together in the public eye, ranked as the greatest living artists and especially celebrate by the French. Both within and without official functions and joint exhibitions, the two began to see each other more and more frequently, as recorded in Françoise's writing. This period was one of intense activity for Picasso both in professional and personal terms. Indeed, Tête de femme (Françoise) was executed only a couple of months after the pair openly and officially became a couple and moved in together, for Dora had remained on the scene for some time, despite Françoise having already featured in Picasso's life and art for two years. However, Picasso had until then almost always encrypted his images of his lover. It was only now that he could openly depict her true form. Françoise was only just in her twenties, a youthful and active artist in her own right, and managed to fuel Picasso's momentum in the years that saw him cement his reputation as the artist. This image of her, with the swirls of her hair, is filled with movement and shape, despite Picasso's own restraint in leaving the work strikingly simple. Indeed, the ornamentation behind Françoise serves to clutter up the background only just enough to lend the clear, untouched roundness of her face a huge impact, her huge eyes starstruck pools in the middle, her expression an image of devotion. Françoise was herself a great Matisse enthusiast, and so her depiction here in a picture filled with the texture and exoticism more often associated with his work than Picasso's is a tribute to her in itself.