Le Peintre à son Chevalet avec son Modèle. The Painter at his Easel with his Model. by Pablo Picasso, 1881-1973

Pablo Picasso, 1881-1973
Scroll down for information.
Click here to return to the list.

Le Peintre à son Chevalet avec son Modèle. The Painter at his Easel with his Model.

Original etching with aquatint and drypoint in black ink. 1965. (13 March at Mougins). Signed in pencil and inscribed in full in pencil as 'Bon à tirer' (the guide proof for the
edition). Proof before the edition of 50 + 15 impressions (total 65). Printed at the studio of Crommelynck, Paris 1965.
Provenance: The collection of Crommelynck - this impression cited in the Baer catalogue.
Ref: Baer: Picasso-Peintre Graveur no.1202

Superb impression with rich tones and drypoint burr. On pale cream Auvergne Richard de Bas wove paper. Perfect condition (never framed or mounted when in Crommelynck's collection). Full margins including deckle. Sheet: 18 1/8 x 24 1/4ins. Plate: 12 5/8 x 18 3/8ins (321x468mm)

This item is sold.
Click here to enquire about this item.

This impression is the unique ?Bon à Tirer? (guide proof) before the edition of 50 impressions. It is from the collection of Crommelynck, the printer, and is recorded in the Bear catalogue ?Picasso Peintre-Graveur?.

The theme of the painter in the studio, an with his model, is central to Picasso?s work. He returned to it constantly from the late 1920?s onwards. The concept that fascinated him was the contrast of realities - the painter himself creating an image which exists again on the canvas - and the contrast of emotions - the relationship between the painter as creator and the image o his model on the canvas or sheet, and the painter as a person and the human physical model.

During the mid 1960?s Picasso was working on his etchings largely in a mixture of etching or drypoint together with aquatint. In the aquatint he enjoyed creating the tone and then working it back with scraper and overbite. This composition shows the richness and invention of this period of Picasso?s graphic work to the full, and it is also one of the most satisfying and complete versions of his theme of the ?Painter in his Studio?