¤ PABLO PICASSO (1881-1973) THE PAINTER AND HIS... Lot 15

¤ PABLO PICASSO (1881-1973) THE PAINTER AND HIS MODEL, 1964 Pencil on paper from a sketchbook Signed lower right and dated '26.1.64' upper right Pencil on paper from a sketchbook; signed lower right and dated '26.1.64' upper right 27,3 X 35,4 CM - 10 3/4 X 14 IN. BIBLIOGRAPHY Christian Zervos, Pablo Picasso, Works of 1964, Editions Cahiers d'art, Paris : 1971, vol. 24, reproduced in black and white under the n° 63, pl. 17. A certificate from Mr. Claude Picasso, dated 10 novembre 2020, will be given to the purchaser. "Picasso painted, drew and engraved this theme so much throughout his life, and from all angles, that it almost became, as Michel Leiris writes, 'a genre in itself'. En 1963 et 1964, he paints little more than cela : the painter armed with his attributes, palette and brushes, the canvas on an easel, most often seen in profile as a screen, and the model naked, sitting or lying down. More than an evocation of his own work - Picasso rarely painted after a model, and without a palette - it is therefore a summary of the profession. What does this important motif mean to Picasso, from the first painting of 1914 to the last drawings of 1971 (MNAM, Donation Leiris), including the illustration of Balzac's Unknown Masterpiece at 1926 ? There are two elements in this scene in jeu : the theme of the gaze, of voyeurism, the staging of the act of looking, the starting point of creation, and the irony about the profession, the staging of the act of painting. "No painter without a model," Picasso said." Marie-Laure Bernadac, Picasso, Une nouvelle dation, exhibition catalogue, Galeries nationales du Grand Palais de Paris, 12 septembre 1990-14 janvier 1991, Éditions de la Réunion des Musées Nationaux, Paris : 1990, p. 76. "Picasso painted, drew, and etched this theme throughout his life and from every angle, so much so that it practically came 'a genre in itself', as Michel Leiris wrote. In 1963 and 1964 he painted little else: the painter armed with palette and brushes, the canvas most often seen in profile, like a screen, and the model depicted nude, seated, or laying down. Rather than evoking his own work-Picasso rarely used models and never used a palette-it encapsulates the profession. What did this important motif signify for Picasso, from the first painting in 1914 to the final drawings in 1971 (MNAM, Leiris Donation), including the illustration for Balzac's Unknown Masterpiece in 1926 ? There are two elements at work in this scene: the theme of the gaze and voyeurism, rendering the act of looking the starting point of creative work; and an ironic approach to the profession-the act of painting. As Picasso said, 'There is no painter without a model.'" Marie-Laure Bernadac, Picasso, Une nouvelle dation, cat. exhibition, Galeries nationales du Grand Palais, Paris, 12 September 1990-14 January 1991, Éditions de la Réunion des Musées Nationaux, Paris : 1990, p. 76.