Pablo Picasso (1881-1973)
Pablo Picasso (1881-1973)
PABLO PICASSO (1881-1973)
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顯赫私人珍藏
巴布羅·畢加索(1881 - 1973)

《女子頭像》

細節
巴布羅·畢加索(1881 - 1973)
《女子頭像》
簽名:Picasso(左下)及日期:3.3.40.(中右)
油彩 紙本 裱於畫布
25 3/8 x 18英寸(64.5 x 45.7公分)
1940年3月作於魯瓦揚
來源
巴黎及哈瓦那皮埃畫廊(皮埃·勒布)(1942年,直至至少1946年)
紐約妮娜及高登·班夏夫特
紐約現代藝術博物館(1957年12月4日受贈自上述收藏,直至1968年)
倫敦帕特里夏·威索夫斯
德國梅爾布施維克多和瑪麗安·蘭根
巴塞爾貝耶勒畫廊
私人收藏(1988年8月購自上述收藏);2015年11月12日,紐約佳士得,拍品編號3C
現藏家購自上述拍賣
出版
A.T. Quílez編〈La exposición Picasso〉《Carteles》,1942年6月21日,第23期,第29頁(插圖時未簽名)
A.H. Barr, Jr著《Picasso: Fifty Years of His Art》,紐約,1946年,第224頁(插圖時未簽名)
C. Zervos著《Pablo Picasso》,巴黎,1959年,第10冊,編號374(插圖時未簽名,圖號122;支撐物有誤)
展覽
1942年6月至7月 「Picasso: Sin tiempo」展覽 哈瓦那學會
1962年5月至9月 「Picasso in the Museum of Modern Art: 80th Birthday Exhibition」展覽 現代藝術博物館 紐約
1964年1月至3月 「Picasso and Man」展覽 安大略畫廊及蒙特利爾美術館 第129頁,編號231(插圖時未簽名)
1969年5月至7月 「Spanish Artists: Gris, Picasso, Miró, Chillida, Tàpies」展覽 貝耶勒畫廊 巴塞爾 編號42(彩色插圖;支撐物有誤)
1972年3月至6月 「Fernand Leger, Pablo Picasso」展覽 科隆 編號27(彩色插圖)
1981年5月至8月 「Westkunst: Zeitgenössische Kunst seit 1939」展覽 科隆市博物館 第362特,編號168(插圖;支撐物有誤)
1981年11月至1982年1月 「Picasso in Wien」展覽 維也納市政廳 編號47(彩色插圖)
1986年7月至10月 「Picasso: Der Maler und seine Modelle」展覽 貝耶勒畫廊 巴塞爾 第63頁,編號29(插圖)
1988年4月至6月 「Picasso im Zweiten Weltkrieg: 1939 bis 1945」展覽 路德維希博物館 科隆 第291頁,編號7(彩色插圖,第36頁)

榮譽呈獻

Vanessa Fusco
Vanessa Fusco Senior Vice President, Co-head of 20th Century Evening Sale

Lot essay

For years I have painted [Dora Maar] in tortured forms, not through sadism, and not with pleasure either, just obeying a vision that forced itself on me. It was a deep reality, not a superficial one.”

Pablo Picasso

Pablo Picasso’s Tête de femme is one of a small and powerful series of portraits inspired by the artist’s wartime lover, Dora Maar. Picasso painted this radically deconstructed visage on 3 March 1940 in Royan, the French seaside town on the Atlantic coast where he, Dora, his secretary Jaime Sabartés and his wife, together with his dog Kasbek, had taken refuge since 3 September 1939, during the early months of the Second World War. Picasso had taken the precaution, as war clouds were darkening, of moving Marie-Thérèse Walter and their daughter Maya there as early as July, in rooms at the villa Gerbier de Jonc. Picasso and Dora stayed in the Hôtel de Tigre; the artist provisionally set up his studio in the Gerbier de Jonc, and in January 1940 rented a larger space in the villa Les Voiliers, overlooking the port, and facing the setting sun.

This, then, is the wartime face of Dora Maar, the public persona Picasso grafted on to the visage of the woman he passionately prized for her dark, beguiling beauty as well as the most intriguing personality of any lover he had known thus far. The relationship that she and Picasso shared was intense and exhilarating, both intellectually and emotionally; it was as productive for him as it proved to be fraught with self-sacrifice for her. In his paintings, drawings and prints, Picasso created an elaborate and compelling myth around Dora, transforming her into an iconic image, the sum of the unrelenting deformationstowhich he had subjected her, as he engraved on her expression a universal cri de coeur in response to the terrible events that beset the middle decades of the last century.


The present Tête de femme is one of four works, each in the same dimensions, Picasso painted on the second and third days of March 1940 (Zervos, vol. 10, nos. 299-301; the present painting is no. 374). One may imagine Dora standing by the French window in his Les Voiliers studio, starkly lit in brilliant mid-day sunshine, her back to the blue sky over the Bay of Biscay. On the very next day, 4 March, Picasso commenced making drawings in a new Royan sketchbook (Zervos, vol. 10, nos. 387-513; Musée Picasso, Paris). These studies led to his masterwork of the early war years, Nu assis aux bras levés, on which he worked in Royan from 6 March to 19 June 1940, completing it soon after German troops entered Paris and the French government called for an armistice (Zervos, vol. 10, no. 302; The Museum of Modern Art, New York).

In response to the disasters of the Spanish Civil War during 1936-1939, Picasso had cast Dora as the Weeping Woman, and thereafter continued to configure Dora’s mysterious and inscrutably impassive visage to reflect the ominous and troubled mood in Europe during the years that preceded the Second World War. Marie-Thérèse, Picasso’s other, more tenured mistress, had been the female presence in Guernica. Picasso now preferred to spare her, as the mother of their child, from further association with violence, making her instead into a personal symbol of loving domesticity and peace. Dora alone would have to bear the brunt of Picasso’s wartime depredations. “For years I have painted her in tortured forms,” Picasso explained to Françoise Gilot, who would replace Dora as Picasso’s next lover, “not through sadism, and not with pleasure either, just obeying a vision that forced itself on me. It was a deep reality, not a superficial one” (quoted in F. Gilot with C. Lake, Life with Picasso, New York, 1964, p. 122).

As with his earlier depictions of Dora as the Weeping Woman, here, Picasso has used his lover’s visage as a vessel for his own deeply felt emotions—in this case undoubtedly angst and torment. Picasso had fled Paris suddenly upon learning of France and Great Britain’s declaration of war on Germany in September 1939. “Don’t you know,” he warned Sabartés, “that there is the danger German planes will fly over Paris tonight. I’m going right home to pack my baggage. Pack yours and stop fooling, I’ll come for you tonight” (quoted in L.C. Gasman, Picasso and the War Years, exh. cat., Fine Arts Museums of San Francisco, 1998, p. 61). Holed up in Royan, he began working as soon as he could, yet a sense of underlying anxiety and fear pervades his work of this time. In the present portrait, Picasso has given Dora the great snout of his Afghan hound Kasbek. Her mouth and one ear are virtually detached, spindle-like, from the rest of her features. Bearing witness to the spreading insanity of modern warfare, recurring as one Guernica after another, has thrown her cognitive senses, and her state of mind, into complete disarray.

Lot Essay Header Image: Man Ray, Portrait of Pablo Picasso, 1933. The Metropolitan Museum of Art, New York. © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2021. Photo: © The Metropolitan Museum of Art. Image source: Art Resource, NY.

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