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P96-0129, picture, image, drawing, bullfighter, bullfighting, horse, bull, matador, Spanish, Spain, Spaniard
BULLFIGHT
| Artist.......................... |
Pablo Ruiz Picasso, 1881-1973 |
| Image Size.................. |
9" x 7" |
| Overall Size................ |
9" x 12.5" |
| Date Drawn/Painted... |
1934 |
| Date of this print....... |
1996 |
| Condition................. |
Good! Bid with confidence!!
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In 1933 Picasso made a brief trip to Barcelona, and the following year he went back to Spain for a longer stay. Besides Barcelona, on this trip he also visited Madrid and Toledo. Impressions from these trips to Spain survive in a number of works on bullfight themes which he executed at Boisgeloup. In composition and color, the work shown here is perhaps the most striking of the series.
Picasso had been familiar with the bullfight from youth. As a subject, it turns up in his work as early as 1901, in a painting that almost impressionisticaly subordinates the dramatic action to the atmospheric sweep of the arena— half in blue shadow, the other half in glaring sunlight. Subsequently, the bullfight occurs again and again, either as main or subsidiary subject—for instance, in the sketch for the curtain of the ballet Le Tricorne, executed in London, 1919, as well as the 1927 etchings for Balzacs Le Chef-doeuvre inconnu. However, in the work shown here the bullfight is treated quite differently. We see the beginning of a development which will reach its climax three years later in Guernica.
In the history of Picassos art this 1934 painting, and the paintings and drawings related to it, mark a first step toward the creation of a wholly personal mythology which he worked out for himself during the 193os. As early as 1930 we find him treating a number of traditional mythological themes, most notably in the illustrations to Ovids Metamorphoses. A Crucifixion dating from the same year is further evidence of search for a thematic form capable of embodying dramatic ideas. In 1934, at the same time as such bullfight works as this one, Picasso produced etchings and lithographs for Aristophanes Lysistrata.
In the theme of the bullfight, since his trip to Spain and its renewal of childhood memories, Picasso saw a mythological symbol capable of embodying dramatic suffering, grief, and rage—capable of expressing, that is, the very feelings which were boiling in him in these years. Everything in the 1934 painting is focused on the dramatic clash between the black bull and the light- colored horse. The arena and the features of the spectators are only suggested, serve merely to frame the action. The drama of ferocious struggle has become the theme not only of this painting, but of the whole world of Picassos imagination. These shrill contrasts of form and color evoke the manner he will employ in reacting to the events of the next few years: they anticipate the rage, the grief, the despair with which he will greet Fascisms ever more stultifying victory over the human spirit. With Guernica, in 1937, historical events will have caught up with such anticipations as those expressed in this work and its theme.
Pablo Ruiz Picasso (October 25, 1881 – April 8, 1973) was a Spanish painter and sculptor. His full name was Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Clito Ruiz y Picasso. One of the most recognized figures in 20th century art, he is best known as the co-founder, along with Georges Braque, of cubism. (Data source: Wikipedia)
Vintage 1996 book print on poster type paper. Excellent condition. This lavish book print is very beautiful with its wide margins, making this very suitable for framing. A great conversation piece from the collection of vintage plates printed and published by Harry N. Abrams, Inc., NY in 1996. Harry N. Abrams, Inc. presented in this collection, reprints of backlist favorites designed to sell at popular prices. Published under the Abradale imprint, these prints were produced to the same high standards of quality for which Abrams is celebrated.
Excellent condition. Clean, no stains, no rips, no tears. The print is crisp and sharp. The detail of this print is just beautiful. This high-quality print is clean, not discolored or faded, and is in excellent condition. It is printed on nice heavy stock, making it very suitable for framing. The back side of the print has unrelated text which does not show through to the front because of the poster quality paper it was printed on. This artistic print is a nice alternative to an original copy of the masterpiece, if you could find one, which you would expect to pay in the hundreds, or perhaps even thousands, depending upon the condition. This print is ready for mounting and framing and will look wonderful in practically any frame, antique, or otherwise.
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