PABLO PICASSO (1881-1973)
PABLO PICASSO (1881-1973)
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PABLO PICASSO (1881-1973)

Le peintre et son modèle

PABLO PICASSO (1881-1973)
Le peintre et son modèle
signed, dated and dedicated 'Pour Norman Granz Picasso 16.5.70.' (upper right)
pen and India ink on paper
12 ½ x 9 ¾ in. (31.7 x 24.8 cm.)
Executed on 16 May 1970
Norman Granz, Geneva, a gift from the artist in May 1970, and thence by descent to the present owner.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Post lot text
Maya Widmaier-Picasso has confirmed the authenticity of this work.
Claude Picasso has confirmed the authenticity of this work.

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Lot Essay

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).

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