Lot n° 408
Estimation :
700000 - 1000000
EUR
Pablo Picasso (1881-1973)
Ragazzo con aquila e cavaliere, 1967
Disegno a matita colorata su carta montato su tela.
Firmato e datato in alto a destra.
Boy with an eagle and a rider, 1967
Coloured pencil drawing on paper mounted on canvas.
Signed and dated upper right.
H_49,5 cm W_65,3 cm
Provenienza:
- Galleria Rosengart, Lucerna, 1970
- Collezione Lavadini, Lugano
- Galleria Annunciata, Milano, 1972
Bibliografia: Catalogue Raisonné, Christian Zervos, riprodotto a pagina 128 con il numero 288.
Provenance:
- Galleria Rosengart, Lucerna, 1970
- Collezione Lavadini, Lugano
- Galleria Annunciata, Milano, 1972
Bibliography: Catalogue Raisonné, Christian Zervos, reproduced on page 128 under number 288.
"Ovviamente non sai mai cosa disegnerai... ma quando cominci a farlo, nasce una storia, un' idea... e basta. Then the story begins, like in the theatre, like in life... and the story is transformed into other stories, into a true novel. It's very different, believe me. Almeno io mi diverto molto a inventare cose e passo ore mentre disegno, vedendo e pensando a quello che fanno i miei personaggi. Fundamentally, è un modo di scrivere storie." "Obviously you never know what you're going to draw... but when you start doing it, a story is born, an idea... and that's it. Then the story grows, like in the theatre, like in life... and the drawing turns into other drawings, into a real novel. It's very entertaining, believe me. At least I have a lot of fun inventing things and I spend hours while I'm drawing, seeing and thinking about what my characters are doing. Basically, it's a way of writing stories. "Il cavallo, u na figura totemica" "Picasso ci presenta un'infinita varietà di immagini dell'animale, che nella sua opera combina il simbolismo maschile e femminile, il solare e l oscuro, il gioco e il dramma, il desiderio e la saggezza. Così facendo, parla anche del suo amore per la compagna immemorabile dell'uomo - che ha fatto anche il doppio della donna." Dominique Dupuis-Labbé
Il cavallo e il suo cavaliere sono figure emblematiche per l'artista. His first dipinto at the age of eight years already depicts a horseback rider. Like a totemic figure that has never left him, and with whom he has worked and explored all the periods.
Indissociable from Spanish Mediterranean culture, Picasso disguised the animal of the popular festivities and sublimated it.
The painter loved the alterity of the horse, the ambivalence of feminine delicacy combined with potency and masculine strength.
This statement is part of the so-called "Final" period, when the painter puts art into discussion.
It is the desire to create a modern language in which the picture expresses only the essential.
Si interroga sull'arte dove la pittura stessa diventa un modello, un'interrogazione e uno studio dei "classici" che gli piace rivisitare portando un'urgenza di linea, un furore creativo e creativo che trasporta i soggetti e lo spettatore.
This is an emblematic period in which he explores his giovanni passions and finds his attachment to primitive art and the influence of Paul Gauguin.
We see a kind of relationship corpo a corpo with the subject, both deformed by the decostruzione and realistic in the expression of the passions, but always seen as a kind of trilogy between the artist, the object and the support.
We can consider this period as a reflection of Cubism freed from all conceptual limitations and at the service of spontaneity, and a return to nature that makes painting primordial, spontaneous and self-sufficient.
"The Horse, a Totem Figure" "Picasso presents us with images, infinitely varied, of the animal that combines, within his work, male and female symbolism, the solar and the dark, play and drama, desire and wisdom. In doing so, he also speaks to us of his love for man's immemorial companion - which he also made the double of woman." Dominique Dupuis-Labbé
The horse and its rider are emblematic figures for the artist. His first painting at the age of eight already depicts a picador on horseback. Like a totem figure that never left him, and with which he worked and explored all periods.
Indissociable from Spanish Mediterranean culture, Picasso drew the animal of popular festivals and sublimated it.
The painter loved the otherness that the horse exuded, this ambivalence of feminine delicacy mixed with masculine power and strength.
This drawing is part of the so-called "Final" period, when the painter questions art.
There is a desire to create a modern language where painting only expresses the essential.
He questions art where painting itself becomes a model, a questioning and a study of the "classics" that he likes to revisit by bringing to them an urgency of line, a creative rage and a sense of humour.
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