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拍品专文
'Nature never produces the same thing twice. Hence my stress on seeking the rapports de grand écart: a small head on a large body; a large head on a small body' (Picasso, quoted in K. Gallwitz, Picasso: The Heroic Years, New York, 1985, p. 69).
Painted in 1968, Buste de femme is an engaging and energetic picture that blends an intimate reflection of the artist's world with the shock factor and iconoclasm for which he had always been known. Buste de femme shows the distinctive face of Picasso's second wife Jacqueline staring at the viewer. The pair had been married since the early 1960s, and had been together since the early 1950s. Jacqueline was to be Picasso's last great love, and last great muse, but as such dominated his work for almost two decades, a feat unrivalled by any of his other lovers.
This frank painting nonetheless reveals Picasso as the inveterate master of innovation, and even shock. Picasso has deliberately distorted the features, and captured them with expressly clunky brushwork, seen in the spiraling swirls of the hair and background, and in the dabbed spots at the bottom. He has created a jarring image of his beloved wife that is an affront to traditional notions of painting, and of beauty. Picasso is deliberately shocking us into a better understanding of nature, challenging our traditional and received notions of aesthetics in order to open our minds to a wider and more interesting view of the world.
Refuting his own colourism, in Buste de femme Picasso has selected a palette dominated by steely greys (although he has not been able to resist tempering them with subtle purple tones, retaining a warmth of character). The rough and gestural application of the paint, and the choice of colours, reveal the influence of Post-War artistic trends, for instance the Informel. Picasso reveals himself, even as an old man, explicitly linked to and aware of the developments of the avant-garde. The intensely textured quality of the paint surface makes Buste de femme appear as a raw and direct vision, a vibrant expressionistic painting, Picasso condensing the life of his sitter, as well as his own life, into the frenzied and physical brushstrokes. Buste de femme is packed with the glaring evidence of the artist's own manic actions before the canvas. There is thus an existential quality to Buste de femme, an assertion and celebration of life. Through this texture, these colours, and the almost Art Brut rendering of Jacqueline's features, Picasso has revealed his rapports de grand écart.
Painted in 1968, Buste de femme is an engaging and energetic picture that blends an intimate reflection of the artist's world with the shock factor and iconoclasm for which he had always been known. Buste de femme shows the distinctive face of Picasso's second wife Jacqueline staring at the viewer. The pair had been married since the early 1960s, and had been together since the early 1950s. Jacqueline was to be Picasso's last great love, and last great muse, but as such dominated his work for almost two decades, a feat unrivalled by any of his other lovers.
This frank painting nonetheless reveals Picasso as the inveterate master of innovation, and even shock. Picasso has deliberately distorted the features, and captured them with expressly clunky brushwork, seen in the spiraling swirls of the hair and background, and in the dabbed spots at the bottom. He has created a jarring image of his beloved wife that is an affront to traditional notions of painting, and of beauty. Picasso is deliberately shocking us into a better understanding of nature, challenging our traditional and received notions of aesthetics in order to open our minds to a wider and more interesting view of the world.
Refuting his own colourism, in Buste de femme Picasso has selected a palette dominated by steely greys (although he has not been able to resist tempering them with subtle purple tones, retaining a warmth of character). The rough and gestural application of the paint, and the choice of colours, reveal the influence of Post-War artistic trends, for instance the Informel. Picasso reveals himself, even as an old man, explicitly linked to and aware of the developments of the avant-garde. The intensely textured quality of the paint surface makes Buste de femme appear as a raw and direct vision, a vibrant expressionistic painting, Picasso condensing the life of his sitter, as well as his own life, into the frenzied and physical brushstrokes. Buste de femme is packed with the glaring evidence of the artist's own manic actions before the canvas. There is thus an existential quality to Buste de femme, an assertion and celebration of life. Through this texture, these colours, and the almost Art Brut rendering of Jacqueline's features, Picasso has revealed his rapports de grand écart.