PICASSO EXHIBITION
Opening Thursday, February 20th, 2020
Galerie Michael is proud to present PICASSO, an exhibition rich with rare proofs and exceptional prints, some of Picasso’s most defining graphic oeuvre. The works exhibited are so unique and of the most important quality, that they cannot fail to have a permanent place in art history.
PICASSO, Pablo, 1881-1973
Minotaure caressant du Mufle la Main d’une Dormeuse, 1933-1934
Drypoint on vergé de Montval laid paper
Pablo Picasso is considered the most pivotal, cutting-edge artist of the 20th century, challenging artistic mediums to attain the optimum results for his artworks. Printmaking was a true passion for Picasso, and he was a major innovator in the medium. He consistently altered his methods to achieve unparalleled qualities in his original graphic works.
Highlights include an incredibly rare series of Portrait de jeune fille, d’après Cranach le Jeune. II, (1958), considered a 20th century masterpiece, and arguably the most defining color print ever created. For this ambitious undertaking, Picasso made five different linoleum blocks – sepia, yellow, red, blue and black – to be superimposed on each other in that order. He then proceeded to print different proofs, in the process making different states of the blocks to arrive at the final image. A powerful image with rich colors, evoking a blend of Cubism and classical portraiture, this series is considered the most important of Picasso’s linoleum cuts. Works of this rarity are truly only seen in museum collections.
PICASSO, Pablo, 1881-1973
Portrait de jeune fille, d’après Cranach le Jeune. II, 1958
Linoleum cut printed in colors
Additionally, Galerie Michael is thrilled to offer two of the finest works from the Vollard Suite, Minotaure aveugle guidé par Marie-Thérèse au pigeon dans une nuit étoilée, (1934) and Minotaure caressant du Mufle la Main d’une Dormeuse, (1933-34). The Vollard Suite comprises 100 etchings completed by Picasso for art dealer Ambroise Vollard. During this time in his career, Picasso’s personal life was in an upheaval, and in this series, Picasso created and adopted the Minotaur as an alter-ego. The half man, half monster Minotaur became a symbol of his impulses and both a personal and universal duality between good and evil, or an autobiographical metaphor.
PICASSO, Pablo, 1881-1973
Minotaure aveugle guidé par Marie-Thérèse au pigeon dans une nuit étoilée, 1934
Aquatint and drypoint on vergé de Montval laid paper
It is a surprise to no one that not all Picassos are created equal, nor will they ever move toward equality. Among the challenges of dedicated fine art collectors is the shortage of top Picasso original work. Owning original graphics is always a better choice than owning mediocre original drawings or paintings, not only for the short‐ and long‐term aesthetic enjoyment of the viewers, but certainly also for the ultimate investment appreciation and upside. As the price of Picasso’s best originals has skyrocketed into the unobtainable stratosphere, collectors have two choices: they can settle on mediocre originals, or move to top‐quality, and still affordable, multiple originals. The choice between the two is obvious, as mediocre work will never significantly rise in value, in direct contrast with his top prints, which are still are somewhat accessible and still present to the collector tremendous price growth.
PICASSO, Pablo, 1881-1973
David, Bethsabée et le Prophète Nathan, 1970
Aquatint, drypoint and scraping on Rives paper
PICASSO, Pablo, 1881-1973
Histoire de Sabartés et de sa voisine: , 1957
Aquatint on BFK Rives wove paper
PICASSO, Pablo, 1881-1973
Histoire de Sabartés et de sa voisine: Les Banderilles, 1957
Aquatint on BFK Rives wove paper
PICASSO, Pablo, 1881-1973
Buste de profil, 1957
Lithograph on Arches paper
