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He threw himself with hunger into a series of technical innovations. Picasso as the master in the use of the scraper, as much in order to erase as in order to draw...(he) often added with drypoint the tumultuous side of a composition, using simple and quick means which left behind all ideas of orthodoxy, in order to achieve what he wanted. There was always a last minute invention, but there were never any accidents. (Picasso, Pierro Crommelynck, Dialogues D'Atelier, Musée de la Vie Romantique, Paris, 2006, p. 94) The 347 series is fascinating not just for the range of characters portrayed but also for Picasso's equally inventive array of techniques. The Crommelynck's rudimentary studio, with it's salvaged and home-made equipment, became a sort of creative laboratory in which orthodox techniques were stretched and rules broken.

Pablo Picasso

Ménines et Gentilshommes dans la Sierra, from Séries 347 (B. 1614; Ba. 1630 Bb1)

Details

Pablo Picasso
Ménines et Gentilshommes dans la Sierra, from Séries 347 (B. 1614; Ba. 1630 Bb1)
aquatint, 1968, on wove paper, signed in pencil, numbered 47/50 (there were also 17 artist's proofs), published by Galerie L. Leiris, Paris, 1969, with wide margins, a deckle edge at left and right, in very good condition
P. 336 x 494 mm., S. 500 x 656 mm.

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