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拍品專文
This work is sold with a photo-certificate from Maya Widmaier-Picasso dated Paris le 3 Avril 2005.
This drawing is the first of two that Picasso executed on 30 October 1970 (for the second, see lot 307), before undertaking a large canvas that same day, Nu couché à la couronne de fleurs (Z., vol. 32, no. 295; see lot 307). Both drawings are more classical in feeling than other depictions of female subjects in this sketchbook, and their compositions stem from the painting Homme et nu couché, which Picasso painted two days before (Z., vol. 32, no. 294). The shaded forms suggest the ripe voluptuousness of a woman's figure. The girl's head in the present drawing is a pleasing oval shape, a composite of frontal and profile views. There is a sense of classical stillness and repose that bring to mind some of the etchings that Picasso made in the early 1930s for La Suite Vollard.
Picasso rendered the present drawing in loose, easy-going manner, which lends it much charm; he executed the second study with a more firm and aggressive hand. The male heads that loom in the background of both the second drawing and the painting are clearly musketeers. Here, by contrast, the glowing, sun-like male head has an Apollonian aspect more in keeping with Greco-Roman mythology. When it came time to undertake the painting that day, Picasso dispensed with the oval-shaped, three-quarter treatment of the girl's head seen here, and opted instead for a more sharply configured Jacqueline profile (see note to lot 310).
This drawing is the first of two that Picasso executed on 30 October 1970 (for the second, see lot 307), before undertaking a large canvas that same day, Nu couché à la couronne de fleurs (Z., vol. 32, no. 295; see lot 307). Both drawings are more classical in feeling than other depictions of female subjects in this sketchbook, and their compositions stem from the painting Homme et nu couché, which Picasso painted two days before (Z., vol. 32, no. 294). The shaded forms suggest the ripe voluptuousness of a woman's figure. The girl's head in the present drawing is a pleasing oval shape, a composite of frontal and profile views. There is a sense of classical stillness and repose that bring to mind some of the etchings that Picasso made in the early 1930s for La Suite Vollard.
Picasso rendered the present drawing in loose, easy-going manner, which lends it much charm; he executed the second study with a more firm and aggressive hand. The male heads that loom in the background of both the second drawing and the painting are clearly musketeers. Here, by contrast, the glowing, sun-like male head has an Apollonian aspect more in keeping with Greco-Roman mythology. When it came time to undertake the painting that day, Picasso dispensed with the oval-shaped, three-quarter treatment of the girl's head seen here, and opted instead for a more sharply configured Jacqueline profile (see note to lot 310).