Description
Pablo PICASSO (1881-1973) Man with toga, 1920 Graphite pencil on paper. Partially faded signature lower right. Dated 25.5.20 on the back. 30 x 21 cm on view A certificate from the Picasso Committee will be given to the buyer. Succession Picasso 2024 After 1918, Cubism's historic dealer Daniel-Henri Kahnweiler expressed his amazement at the changes taking place in France: "in particular, there was this extraordinary change in Picasso's painting... which led Picasso, at least partially, towards a classicist painting, which worried me a lot at the time... then there was another rather important event: the meeting with Cocteau, the Ballets Russes and Olga Khokhlova, one of the Ballets Russes dancers who was to become his wife". Picasso's eye was especially drawn to the paintings and drawings of Ingres, and also to Greco-Roman sculpture and its long heritage (in the summer of 1921, he rented a house next to the Château de Fontainebleau!). Our beautiful drawing, executed around 1920, evokes ancient sculpture and Ingres' pure drawing style - curly hair, Apollonian bust draped in a toga, contours drawn with a continuous stroke. However, in a troubling ambiguity, the overhanging point of view is not in the tradition of sculpture drawing, but rather establishes the scene in reality.
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Pablo PICASSO (1881-1973) Man with toga, 1920 Graphite pencil on paper. Partially faded signature lower right. Dated 25.5.20 on the back. 30 x 21 cm on view A certificate from the Picasso Committee will be given to the buyer. Succession Picasso 2024 After 1918, Cubism's historic dealer Daniel-Henri Kahnweiler expressed his amazement at the changes taking place in France: "in particular, there was this extraordinary change in Picasso's painting... which led Picasso, at least partially, towards a classicist painting, which worried me a lot at the time... then there was another rather important event: the meeting with Cocteau, the Ballets Russes and Olga Khokhlova, one of the Ballets Russes dancers who was to become his wife". Picasso's eye was especially drawn to the paintings and drawings of Ingres, and also to Greco-Roman sculpture and its long heritage (in the summer of 1921, he rented a house next to the Château de Fontainebleau!). Our beautiful drawing, executed around 1920, evokes ancient sculpture and Ingres' pure drawing style - curly hair, Apollonian bust draped in a toga, contours drawn with a continuous stroke. However, in a troubling ambiguity, the overhanging point of view is not in the tradition of sculpture drawing, but rather establishes the scene in reality.
