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拍品專文
Reflecting on the theme of the artist's studio in the late 1920s, Picasso became particularly interested in the depiction of the rapport between the painter and his model, a subject he would explore in different techniques, media, shapes and sizes throughout his career. He often chose the same structure: the artist — his alter ego — facing the model, the two separated by the easel. The elements are limited, the message is straightforward, yet Picasso managed to render each interpretation of the theme in a different way. The artist's curiosity, admiration, pride and self-security are met by the serene posture and easiness of his model.
Picasso reaffirmed his attachment to the external world and the presence of the 'subject' in his works, at a time when many artists were talking of doing away with both. However, the artist's intent is far from being purely philosophical, nor is it meant to serve as a commentary on his craft. 'The more Picasso painted this theme, the more he pushed the artist-model relationship towards its ultimate conclusion: the artist embraces his model, canceling out the barrier of the canvas and transforming the artist-model relationship into a man-woman relationship' (M.-L. Bernadac, 'Picasso 1953-1972: Painting as Model,' Late Picasso, exh. cat., The Tate Gallery, London, 1988, p. 77).
Picasso reaffirmed his attachment to the external world and the presence of the 'subject' in his works, at a time when many artists were talking of doing away with both. However, the artist's intent is far from being purely philosophical, nor is it meant to serve as a commentary on his craft. 'The more Picasso painted this theme, the more he pushed the artist-model relationship towards its ultimate conclusion: the artist embraces his model, canceling out the barrier of the canvas and transforming the artist-model relationship into a man-woman relationship' (M.-L. Bernadac, 'Picasso 1953-1972: Painting as Model,' Late Picasso, exh. cat., The Tate Gallery, London, 1988, p. 77).