Pablo Picasso (1881-1973)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
Pablo Picasso (1881-1973)

Nu sur un divan

Pablo Picasso (1881-1973)
Nu sur un divan
signed and dated '18-6-20- Picasso' (lower right)
pencil on paper
9 ¼ x 13 3/8 in. (23.5 x 34 cm.)
Drawn in Paris on 18 June 1920
Werner & Nelly Bär, Zurich, by whom acquired in 1936; their sale, Sotheby's, London, 30 March 1977, lot 83.
Acquired at the above sale by the present owner.
C. Zervos, Pablo Picasso, vol. IV, Œuvres de 1920 à 1922, Paris, 1951, no. 75 (illustrated pl. 24).
Winterthur, Kunstmuseum, Die Plastiksammlung Werner Ba¨r, September - November 1951, no. 138.
Zurich, Kunsthaus, Zwei Zu¨rcher Sammlungen: Werner Ba¨r Plastik, Kurt Sponagel Graphik, August - September 1959, no. 158, p. 26.
Milan, Fondazione Antonio Mazzotta, Il disegno del nostro secolo, da Klimt a Wols, April - July 1994, no. 66, p. 429 (illustrated p. 142).
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.

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Annie Wallington
Annie Wallington

Lot Essay

The classical spirit of Nu sur un divan and the monumental simplicity of Picasso’s lines are a demonstration of the artist's Neo-Classical style. Moving away from Synthetic Cubism, Picasso had resorted to weighty, sculptural figures, bearing the serious stare and dignified elegance of the Classical Age. Questioned as to why he had stopped dedicating himself wholeheartedly to Cubism, Picasso had replied: ‘a man does not live by, cannot live by a single invention, a single discovery. It’s not that he could not make do with it, but exhaustion would rapidly create public indifference. And it’s not necessarily that he actively wants to make new progress in the researches he has undertaken; it is, on the contrary, that anyone of above-average sensibility is driven by the propensity to renew himself. Only mediocrity can endure a succession of days which are all the same’ (quoted in E. Cowling, Picasso: Style and Meaning, New York, 2002, pp. 392-393). Signalling a new departure in Picasso’s career, artworks such as Nu sur un divan witness to the artist’s necessity to explore new paths and to his growing interest in the human form that, in the 1920s, would absorb all his attention.

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