Art/ Collection/ Art Object

Saltimbanque in Profile

Artist:
Pablo Picasso (Spanish, Malaga 1881–1973 Mougins, France)
Date:
1905
Medium:
Essence on paper board
Dimensions:
31 1/4 x 23 1/2 in. (79.4 x 59.7 cm)
Classification:
Drawings
Credit Line:
Bequest of Scofield Thayer, 1982
Accession Number:
1984.433.269
Rights and Reproduction:
© 2017 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Not on view
Consummately assured, this work may be one of Picasso's last pictures depicting the itinerant acrobats called saltimbanques. The palette and serene mood link it to the "Family of Saltimbanques" (National Gallery of Art, Washington, D.C.), completed in late 1905. As with "The Actor", hanging to the right, Picasso borrowed the pose and hands from a work by the Neoclassical master Jean-Auguste-Dominique Ingres (Comte de Pastoret, 1823-26, The Art Institute of Chicago), who had himself borrowed the pose from Bronzino's sixteenth-century Portrait of a Young Man, now at the Metropolitan Museum (29.100.16).
Picasso originally made the head of the young performer appear much more sculptural, with deeply cut curls and heavily lidded eyes. It is likely that, in the early 1920s, the Parisian dealer Paul Guillaume had the picture "washed" to soften its appearance prior to its sale to the American publisher and collector Scofield Thayer.
Inscription: Signed in blue, lower left: Picasso
Dr. Paul Linder, Basel (by April 1914); Mr. "N. N.," Basel (by April 1916); [Paul Guillaume, Paris, until 1923; sold in 1923 to Thayer]; Scofield Thayer, Vienna and New York (1923–d. 1982; on extended loan to the Worcester Art Museum, Massachusetts, 1931–82; his bequest to MMA)

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Kunsthalle Basel. "Ausstellung neuerer Kunst aus Basler Privatsammlungen," April 9–30, 1916, no. 208.

New York. Montross Gallery. "Original Paintings, Drawings, and Engravings Being Exhibited with the Dial Folio 'Living Art'," January 26–February 14, 1924, no. 32.

Worcester Art Museum. "Exhibition of the Dial Collection of Paintings, Engravings, and Drawings by Contemporary Artists," March 5–30, 1924, no. 27.

Northampton, Mass. Hillyer Art Gallery, Smith College. "The Dial Collection," Spring 1924, no catalogue.

New York. Jacques Seligmann & Co. "Picasso: 'Blue' and 'Rose' Periods, 1901–1906: Loan Exhibition," November 2–26, 1936, no. 20.

Art Institute of Chicago. "Sixteenth International Watercolor Exhibition," March 18–May 16, 1937, no. 114.

New York. Wildenstein & Co., Inc. "The Child through Four Centuries: Portraits of Children, 17th to 20th Centuries," March 1–28, 1945, no. 52.

Atlanta Art Association. "French Painting: David to Rouault," September 20–October 4, 1955, no. 47.

Birmingham Museum of Art. "French Painting: David to Rouault," October 16–November 5, 1955, no. 47.

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Arts 6 (August 1924), facing p. 92, ill.

Dial 79 (December 1925), ill. opp. p. 445.

F[rancis]. H[enry] T[aylor]. "Modern French Paintings in the Museum." Bulletin of the Worcester Art Museum 22, no. 4 (January 1932), pp. 65, 70, ill.

Christian Zervos. Pablo Picasso. Vol. 1, Works from 1895 to 1906. Paris, 1932, p. 121, nos. 276, 277, ill.

Rafael Benet with Jorge Benet Aurell. Simbolismo. Barcelona, 1953, ill., cover and opp. p. 146.

Denys Sutton. Picasso, Peintures: Époques bleue et rose. 2nd ed. (1st ed., 1948). Paris, 1955, no. 36, ill.

Frank Elgar and Robert Maillard. Picasso: Étude de l'oeuvre. Paris, 1955, pp. 26, 30, 45, ill.

Frank Elgar and Robert Maillard. Picasso: A Study of His Work. New York, 1956, pp. 30, 34, ill.

Pierre Daix and Georges Boudaille. Picasso: The Blue and Rose Periods: A Catalogue Raisonné of the Paintings, 1900–1906. Greenwich, Conn., 1967, pp. 82, 280, no. XIII.19, ill.

Paolo Lecaldano. L'opera completa di Picasso blu e rosa. Milan, 1968, pp. 16, 104–5, no. 213, pl. 45, ill.

Frank Elgar and Robert Maillard. Picasso: A Study of His Work. Rev. ed. New York, 1972, pp. 25–26, no. 18, ill.

Donald E. Gordon. Modern Art Exhibitions, 1900–1916: Selected Catalogue Documentation. Vol. 2, Munich, 1974, p. 119.

Meyer Schapiro. "Mondrian: Order and Randomness in Abstract Painting." Modern Art: 19th & 20th Centuries, Selected Papers. New York, 1978, p. 119 n. 6.

Denys Chevalier. Picasso: The Blue and Rose Periods. New York, 1978, p. 83, ill.

Josep Palau i Fabre. Picasso: The Early Years, 1881–1907. New York, 1981, pp. 428–29, 548, no. 1170, ill.

Pablo Picasso. Tokyo, 1981, pl. 26.

Peter P. Donker. "Museum Losing Dial Art: Collection Going to New York." Worcester Telegram (August 11, 1982), p. 1, ill.

Lisa M. Messinger in "Twentieth Century Art." The Metropolitan Museum of Art: Notable Acquisitions, 1984–1985. New York, 1985, pp. 48–49, ill.

Pierre Daix and Georges Boudaille. Picasso, 1900–1906: Catalogue raisonné de l'oeuvre peint. Neuchâtel, 1988, p. 280, no. XIII.19, ill.

Núria Rivero, Teresa Llorens, and Pierre Daix in Picasso, 1905–1906: From the Rose Period to the Ochres of Gósol. Exh. cat., Museu Picasso. Barcelona, 1992, p. 264 n. 1.

Hélène Seckel. Picasso: Les Chefs-d'oeuvre de la période rose. Quarante tableaux. Munich and Paris, 1992, pl. 18.

Christian Geelhaar. Picasso: Wegbereiter und Förderer seines Aufstiegs, 1899–1939. Zürich, 1993, pp. 60–62, 276 nn. 199–200, fig. 51.

Colette Giraudon. Paul Guillaume et les peintres du XXe siècle: De l'art nègre à l'avant-garde. Paris, 1993, p. 19, ill.

Impressionist and Modern Paintings, Drawings, and Sculptures, part 1.November 7, 1995, p. 66, fig. 3.

Lucy Belloli. "Lost Paintings beneath Picasso's 'La Coiffure'." Metropolitan Museum Journal 40 (2005), pp. 156–57, fig. 12.

Julia May Boddewyn in Michael FitzGerald. Picasso and American Art. Exh. cat., Whitney Museum of American Art. New York, 2006, pp. 333–34, 344–45, 360.



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