Young Greek Sculptor with His Sculpture A Man and an Ephebe Pablo Picasso Vollard Suite,Vollard Suite Young Greek Sculptor with His Sculpture A Man and an Ephebe Pablo Picasso, Vollard Suite Year: 1956 Size Sheet: 28 x 21 centimetres = 11” x 8,25” (inches) approximately Material: Thick paper Signature: Unsigned Condition: This 60+-year-old item is rated Near Mint, in overall good condition, Light,Pablo Picasso, Young Greek Sculptor with His Sculpture A Man and an Ephebe,Best value for high quality,Sell & More Promotion Services,Tax-Free. Free Shipping,Get cheap goods online,members get free shipping every day. an Ephebe Pablo Picasso Vollard Suite Young Greek Sculptor with His Sculpture A Man and jeanaharbor-tokyo.com.
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Pablo Picasso Young Greek Sculptor with His Sculpture A Man. Pablo Picasso, Young Greek Sculptor with His Sculpture A Man and an Ephebe, Vollard Suite Year: 1956 Size Sheet: 28 x 21 centimetres = 11” x 8.25” (inches) approximately Material: Thick paper Signature: Unsigned Condition: This 60+-year-old item is rated Near Mint, in overall good condition. Light. Pablo Picasso, Young Greek Sculptor with His Sculpture A Man and an Ephebe, Vollard Suite。Year: 1956。Size Sheet: 28 x 21 centimetres = 11” x 8.25” (inches) approximately。Material: Thick paper。Signature: Unsigned。Condition: This 60+-year-old item is rated Near Mint, in overall good condition. Light signs of age at the margins.。 No creases. No natural defects. No surface rub. No tears. No water damage, or notable damage.。 Please view photo for further reference.。Pablo Picasso, 1956 Print From Pablo Picasso's Vollard Suite。Free shipping worldwide。It sells as a copy - 'As is.'。No certificate of authenticity (COA)。You will receive the item from the photos.。The items are purchased from Germany, Austria, France, Switzerland and the United Kingdom various dealers, auctions, sales, antique shops, markets, and art collectors.。I accept return within 14 days。The photolithography will be without a frame。The prints were made when Picasso was involved in a passionate affair with his muse and model, Marie-Thérèse Walter, whose classical features are a recurrent presence in the series. Picasso gave no order to the plates, nor did he assign any titles to them. Picasso kept the plates open-ended to allow connections to be freely made among them, yet specific thematic groupings can also be identified.。Disclaimer - Our prints/original art are purchased from various dealers, auctions, sales, antique shops, markets, and art collectors and are sold by us as such. However, in the unlikely event that you do not like the article, we will make an immediate and full refund, without hesitation, if the item is returned to us in the same condition it was received, with no damage, marks or folds, within 14 days of receipt.。About the Vollard Suite。In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cézanne.。Picasso worked extensively on the set in the spring of 1933 and completed the suite in 1937. It took a further two years for the printmaker Roger Lacourière to finish printing the 230 full sets, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s.。The works are not based on a literary source and are not titled, although according to the Fundacion Juan March, "Some of the themes have a remote origin in Honore de Balzac's short story Le Chef-d’oeuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter’s efforts to capture life itself on canvas through the means of feminine beauty". The works are inscribed by Picasso with the year month and day that he drew the image. Writing in the Daily Telegraph Richard Dorment claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe. In the years Picasso worked on the series, fascism spread through Europe and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show’s beginning".。The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Therese Walter is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Thérèse to create a series of monumental bronze heads in the neoclassical style. Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to develop original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931.。Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife, Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard.。Picasso learnt new techniques of etching during the suite, from relatively simple line etchings, through dry pointing and aquatinting and sugar aquatinting, this enabled him to achieve more painterly effects. Most of the prints were completed to Picasso's satisfaction in a single state but others, especially the erotic compositions, exist in several states, fourteen in one case.。About Verlag Gerd Hatje。Hatje was born in Hamburg in 1915. After an apprenticeship as a typesetter in Stuttgart, he started the Humanitas Verlag (publishing house) when he was thirty. The publishing house was renamed Verlag Gerd Hatje in 1947. His varied interests were reflected in his publishing program; in addition to classics and contemporary literature, he also produced publications on jazz. One of his earliest publications was a catalogue for a Max Beckmann exhibition and an edition of the German classic The Book of Le Grand by Heinrich Heine.。In the fifties and sixties, the great masters of painting, sculpture, and architecture gained importance. These years were marked by Hatje’s contact and friendships with artists, architects, and art historians, including Willi Baumeister, Hans Arp, Georges Braque, Alberto Giacometti, Joan Miró, Marc Chagall, Pablo Picasso, Max Ernst, Christo, Joseph Beuys, Max Bill, Le Corbusier, Marcel Breuer, Ludwig Mies van der Rohe, Walter Gropius, and James Stirling, as well as collaboration with notable international publishers such as Harry N. Abrams, Thames and Hudson, Gustavo Gili, and Eric Hazan. Gerd Hatje concentrated on realizing his dream of publishing art of the highest quality. In his words, publishing is the process by which “intellectual spaces are made accessible.”。Hatje was motivated by a strong personable conviction, embarking on intellectual adventures with artists and authors, and was always ready to take risks in the interest of beautiful books and artworks. Among his publications are some of the best-designed art, design, and architecture works of the twentieth century, and many were awarded prizes. Hatje was always concerned with quality, both in the books and art, he published.。He once said, “For me, there is neither a past nor a future in art. A work of art that cannot always exist in the present is not worth talking about.”。Pablo Picasso 1881-1973。School of Paris, painter, sculptor, etcher, lithographer, ceramist and designer, who has had an enormous influence on 20th-century art and worked in an unprecedented variety of styles. Born at Malaga, Spain, son of an art teacher. His family moved to Barcelona, where he entered the School of Fine Arts 1895; then entered Madrid Academy 1897. Early showed great precocity. First visited Paris in autumn 1900, returned in 1901 when he had his first Paris one-man exhibition at the Galerie Vollard. Blue Period paintings of beggars and sad-faced women. Settled in Paris in 1904. In 1905 painted some pictures of circus folk and embarked on his Rose Period. 'Les Demoiselles d'Avignon' 1906-7 marked the beginning of a more revolutionary manner, influenced by Cezanne and Negro art. Met Braque in 1907 and with his collaboration created Cubism. Designed sets and costumes for Parade and other Diaghilev ballets 1917-24. Made some neo-classic figure paintings 1920-4, parallel to later Cubism. Started to make more violently expressive and metamorphic works in 1925, and in the following years frequently exhibited with the Surrealists. Important series of wrought-iron constructions and modelled sculptures 1928-34, illustrations for Ovid's Les Métamorphoses, Buffon's Histoire Naturelle etc. Awarded First Prize at the 1930 Pittsburgh International. His painting 'Guernica' 1937 was inspired by the destruction by bombing of the Spanish town of that name. Continued to live in Paris throughout the Occupation. From 1946 lived mainly in the South of France at Antibes, Vallauris, Cannes, and from 1958 near Aix-en-Provence, where he maintained a prolific output of paintings, sculptures, etchings, lithographs and ceramics. Died at Mougins, near Cannes. 。 。
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