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Pablo PICASSO: Diurnal, The Goat at the Fence, Original Phototype

Pablo PICASSO (1881-1973)
The Goat at the Fence, 1962

Original phototype and stencil (Atelier Jacomet)
Unsigned
Limited to 1000 unnumbered copies
On thick paper 40 x 30 cm

REFERENCE: Cramer Catalogue Raisonné #115

INFORMATION: Using a technique used since 1943, Picasso had made cut-outs of heads and silhouettes. In 1962, with his friend the photographer André Villers, he mounted the cut-outs on
different photographs, 30 in all, thus varying their effect and value. The entire collotype was published by Berggruen in the portfolio "Diurnes" printed in 1000 copies.

Excellent condition
This description has been translated automatically. please click here Click here to display the original language FR

Stencil : The stencil is a printing technique made using a cover (in zinc for example) that prevents paint or ink from flowing. The stencil is then applied to the printed proof by etching, lithography, screen printing or phototyping. Many stencils must be traced and cut to obtain an accurate reproduction of the work.
Pablo Picasso : Pablo Ruiz Picasso is one of the greatest artists of the 20th century. Born in Malaga in 1881, he arrives at Barcelona at 15 and makes his first exposition five years later. He established himself at "Bateau-Lavoir" studio in Paris (Montmartre) in 1904. His early paintings are classical at that time and divided by periods, the "blue period" (1901-1904) followed by the "pink period" (1904-1906). Marked by new influences (Ingres, Cézanne, Gauguin) and new meetings (Matisses, Braques, Derain), Picasso's painting made a radical turn clearly perceptible in his "Demoiselles d’Avignon" (1906-1907). This geometrization which quickly became fragmentation, followed by Braque, announced the birth of Cubism. In this revolutionary artistic impulsion, the year 1911 is marked by the first "papiers collés" of the art History. His native Spain clearly influenced his works between 1930-1944. Affected by the Civil War, he awaked himself to militancy with "Guernica", 1937. A same anxiety can be felt through his parisian works during Second World War ("Still life with steer skull", 1942). His setting in the south of France and his membership to the Communist Party in 1944 gives way to hope in his painting ("La joie de vivre", 1946). Years 1950-1960 show the influence of contemporaries such as Matisse and great masters as Delacroix, Velázquez, Manet or David. He works until his death in Mougins, in 1973.

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