Picasso (1881–1973) made prints throughout his career – over 2,500 principally in etching, lithography and linocut. Also monoprints.
Exhibition British Museum exhibition: 10 January – 6 May 2014
Picasso linocuts acquired by the British Museum
Picasso Prints: The Vollard Suite at the British Museum
Morris Shapiro and the Park West Gallery Picasso collection
Pablo Picasso 1962 \ 63 Linocuts \ Linogrvures \ Linolschnitte
Pablo Picasso linocut
Invention of the reduction linocut
His earliest linocut is from 1939, but his major period of working in this medium was from the mid-1950s to the early 1960s. During this time the artist resided mainly in the south of France, far removed from his collaborative involvement with the master printers in Paris where he had made his etchings and lithographs in the 1930s and 40s. He began by producing linocut posters for ceramic exhibitions and bullfighting events in Vallauris with the talented local printer Hidalgo Arnéra.
Within a very short time Picasso was finding new ways of producing colour linocuts which dispensed with the orthodox method of cutting a separate block of linoleum for each colour. He devised a method of progressively cutting and printing from a single block that required him to foresee the final result, as once he had gouged away the linoleum surface he could not go back.
Pablo Picasso linocuts at Connaught Brown Gallery March 2013 review
Still Life under the Lamp, made in 1962.
These two sets of linocuts highlight Picasso’s astonishing technical innovation and creativity. The first set consists of nine progressive proofs for Picasso’s masterpiece, Still Life under the Lamp, made in 1962. The image depicts a still life of apples next to a glass goblet, brightly illuminated under a lampshade at night. In nine stages, beginning with a blank tabula rasa, Picasso progressively cut and printed the single block, gradually building the image with increasing complexity. At each stage the viewer sees an image that would appear finished but Picasso goes further, pursuing it to its final form. Each print is vibrant and fresh in the colours of the 1960s: citron yellow, acid green and bright red. The proofs are extraordinarily rare, being extant in only one or two impressions, and the complete set is unique. They come originally from the printer Hidalgo Arnéra, with whom Picasso worked in producing his linocuts. Still Life under the Lamp is perhaps the most often reproduced of Picasso’s linocuts and appears in nearly every survey of 20th century printmaking.
The second set is four progressive proofs for a monochrome subject, Jacqueline Reading, also made in 1962. The sitter is Picasso’s second wife Jacqueline Roque with whom he lived in the last years of his life. She is posed reading, one hand held to her face and eyes cast down, locked in an interior world. For this print Picasso used two blocks. In the first block he scratched the surface with a stiff comb to describe the form of Jacqueline’s head and bust in tonal terms. A second block was cut with gouges to leave just her outline. Then the print from the second block was superimposed over the first to achieve the final image. Jacqueline became the final muse in Picasso’s life and appears in countless paintings, drawings, prints and ceramics during this period. The British Museum already owns the colour linocut of her, Portrait of Jacqueline with necklace, resting on her elbow, which Picasso produced in 1959, and this set of black and white proofs made three years later amplifies the importance of this theme in Picasso’s work.
Use of simultaneous contrast:
Bullfighting beige brown and black
Les Banderilles Like Cretan. Like the composition. How about the background?.
mere danseur et musicien 1959 Much simpler
Picasso linocut exhibition at British museum: