Galerie Michael is pleased to present this special selection of graphic works by Pablo Picasso, and our first curated exhibition of Françoise Gilot’s original paintings, drawings and works on paper. We are confident that the character and accomplishments of each artist will become more obvious and profound through this narrative.We invite you to the gallery to explore the full exhibition.
“Art is not the application of a canon of beauty but what
the instinct and the brain can conceive
beyond any canon. When we love a woman
we don’t start measuring her limbs.”
– Pablo Picasso
See some of the show highlights below
Even the briefest study of Pablo Picasso’s graphic oeuvre reveals that women are present in nearly all of his greatest works. All the emotion, all the complexity and all the determination of his genius was bound up inextricably with the female form.
Picasso changed his romantic companions at least as often as his painting styles. For Picasso, a new relationship often meant a new form and direction in his art. The artist made countless portraits of his wives, mistresses and of his children. Picasso was not only a very prolific printmaker, but also a very diverse one in the use of a great variety of different techniques. He created lithographs, etchings, drypoints, linoleum cuts, woodcuts and aquatints. Always on the search for something new, the experimented constantly with these techniques, which are represented here in our exhibition.
La Femme à la fenêtre, 1952
Aquatint on Arches wove paper
A very fine impression, one of six recorded impressions before steel-facing. Aside from the numbered edition of 50 after steel-facing. Printed by Lacourière, Paris. Published by Galerie Louise Leiris, Paris. With full margins. Inscribed “Lacourière” in the plate (shown in reverse).
Provenance: Marina Picasso Collection, with her stamp verso;
Frederick Mulder, London
Exhibition History: Williamstown, Massachusetts, The Clark Art Institute, Picasso: Encounters, 2017
Baer 891/II/A; Bloch 695
35 1/2 x 25 in.
This monumental portrait of Françoise Gilot is considered one of the most compelling and powerful in Picasso’s graphic oeuvre. Gilot, praised by the photographer Brassai for her ‘freshness and restless vitality’ met Picasso in 1943 and soon became the subject of many of his best prints of the period: Torse de Femme (L’Egyptienne), Venus et l’amour, d’après Cranach, and the series of lithographs titled La Femme à la fenêtre.
GILOT, Françoise, b. 1921
The Past and the Future, 1987
Mixed media heightened with watercolor on embossed paper
Signed, titled and dated in pencil.
The authenticity of this work has been confirmed by Françoise Gilot
and it is registered in the artist’s archives.
Provenance: Robertson Gallery, Beverly Hills, CA
30 x 22 in.
Françoise Gilot was 66 years old when she conceived The Past and the Future. Having lived through her life with Picasso, war, independence, in addition to her international career as an artist and a rewarding life in the United States, Gilot has come to terms with the past with a sense of nostalgia, while knowing the future will unfold in ways that no one could predict. While we all wish the cards would provide clues to the future, Gilot has always felt a sense of purpose and determination in this world.
PICASSO, Pablo, 1881-1973
La Pose Habillée, 1954
Lithograph on Arches wove paper
One of at least six artist’s proofs, aside from the numbered edition of 50.
Provenance: By inheritance from the artist to Marina Picasso,
with her oval stamp verso
Exhibition History: Nassau County Museum of Art,
New York: Picasso. February – April 2005
Bloch 764; Mourlot 257
21 5/8 x 15 in.
In this work, the exceptionally beautiful and youthful figure models for the artist in an intimate, autobiographical moment of longing for the past, perhaps one that he shared with Gilot at the studio. The artist appears as a mentor figure, painting as he gazes at his elegant muse.
PICASSO, Pablo, 1881-1973
Françoise sur fond gris, 1950
Lithograph with wash and lithographic crayon on Ingres
Canson blue-grey paper set on
Arches wove paper. Signed and numbered ’21/50′ in pencil
Second state. Re-working of zinc with lithographic crayon,
printed on Ingres Canson sized blue-grey paper
and set on Arches wove paper. From the edition of 50,
aside from at least 5 artist’s proofs.
Literature: Stone Echoes: Original Prints by Françoise Gilot.
A Catalogue Raisoneé. Introduction
Bloch 681; Mourlot 195
29 3/4 x 22 1/2 in.
This work is one of Picasso’s most poignant and sentimental portraits of Gilot. He captures her beauty inside and out, while completely mastering lithography. Picasso’s ability to create density of lines, shading and depth in this medium is remarkable, and a true example of his artistic skill. An exquisite work of art for a Picasso, or Gilot, art connoisseur.
Françoise Gilot is a French painter and bestselling author. She is also known as the lover and artistic muse of Pablo Picasso from 1944 to 1953, and the mother of his children, Claude Picasso and Paloma Picasso. Gilot was more than just Picasso’s lover: she was a mother, organizer, muse, conversation partner, hostess, artist and an art critic. Gilot and Picasso spent a decade together surrounded by art, literature and creative impulses. Although Picasso had in influenced her work as a cubist painter, she developed her own style. Gilot often avoided the sharp edges and angular forms that Picasso used, and instead chose organic forms and figures.
GILOT, Françoise, b. 1921
Egregore d’Oiseaux, 1972
Mixed media with gouache and ink on paper
Signed; titled verso
The authenticity of this work has been confirmed by Françoise Gilot and it is registered in the artist’s archives
under the number G 1979. 22 1/8 x 30 in.
The term ‘egregore’ first appeared in French in a poem by Victor Hugo in 1857. It was used by the Surrealists to denote a group whose personality differed from that of the individuals who composed it. Gilot’s work, done in a variety of media, holds a vital place in the international art world and represents one of the most exciting collecting opportunities in contemporary art today. Birds appear frequently in Gilot’s paintings, here represented with both Cubist and abstract influences. is is a beautiful example with bold, rich colors, illustrating her own language of form and color.
The Green Eyes, 1942
Pencil on paper
Signed with the artist’s monogram; titled and dated verso
The authenticity of this work has been confirmed by Françoise Gilot and it is registered in the artist’s archives.
Provenance: Acquired directly from the artist by the previous owner
11 3/8 x 8 1/2 in.
This work is from a series of nine self-portrait drawings, created in February of 1942 during an extended visit with Gilot’s best friend and muse, Geneviève, in Fontes, as the south of France remained a free zone until the end of that year. Each portrait in the series reveals a very determined Gilot, perhaps reflecting the political situation at the time. In 1942, bowing to the demands of her father, Gilot repeated her second year of law school, but with considerable less conviction as she became more determined to become an artist. Of this portrait, Gilot wrote in 2004, “A self-portrait where light comes out of the half shadow, which I felt corresponded to my psychological character. “